NORMA ARIODANTE

PROGRAM FALL 2016 Great opera lives here.

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16-1853 Canadian Opera Company Fall House Program Ad_Ev2.indd 1 2016-08-05 3:20 PM CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF NORMA 10 THE DRAMA BEHIND BELLINI’S At its most fundamental, opera NORMA is about compelling, imaginative,

13 GET TO KNOW inspiring storytelling. When music ELZA VAN DEN HEEVER and voices collaborate in the act of storytelling the result can be an 14 WHAT’S PLAYING: ARIODANTE extremely powerful expression of humanity. 20 FROM ARTASERSE TO ARIODANTE This season at the COC we have BIOGRAPHIES: NORMA a remarkable array of stories 25 for you to enjoy—from tales of 28 BIOGRAPHIES: ARIODANTE ancient druids and princesses, to fictional opera divas; from mythic THE BMO EFFECT 31 characters in a mythical land to 32 BACKSTAGE AND BEYOND real-life champions of human rights. Their stories may be different, but 35 BACKING A WINNING TEAM they are deeply felt and intensely 36 MATTHEW AUCOIN: communicated, and they are our Doing What Comes Naturally stories. In them, we see our own struggles and successes, joys and 38 CENTRE STAGE: fears, and we are grateful for the An Experience You Won’t Forget shared experience. 40 MEET THE GUILDS During this 10th anniversary season 42 AN OPEN LETTER FROM JOHANNES DEBUS in our marvelous opera house, the Four Seasons Centre for the 44 REMEMBERING LOUIS RIEL Performing Arts, I am particularly to achieving the greatest proud that the COC is a home for heights of artistic excellence, in, 49 CREATING A BETTER DONOR once again, an all-COC season. EXPERIENCE truly special programming devoted 50 HONEY, CHEESE, ART! 56 MANY THANKS TO OUR SUPPORTERS Recently, the in our new vision of bringing 62 PATRON INFORMATION COC COC has created the transformative experience AND POLICIES a strategic plan of opera to you every day of 365 to focus our the year. Follow these COC365 efforts on those buttons (left) throughout the issues that program to get a better idea GO SCENT FREE are most crucial to our future of how we share with you our In consideration of patrons development. Among other creative initiatives and world- with allergies, please avoid things, this process has yielded a class opera 365 days of the wearing perfumed beauty stronger-than-ever commitment year. products and fragrances! to artistic excellence, expressed

COC Program is published three times a year by the Canadian Opera Company. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyright Canadian Opera Company. Direct all advertising inquiries to [email protected].

Program edited by Claudine Domingue, Director of Public Relations; Kristin McKinnon, Publicist and Publications Co-ordinator; and, Gianna Wichelow, Senior Manager, Creative and Publications. Layout by Gianna Wichelow. All information is correct at time of printing. Photo credits are on page 61.

CANADIAN OPERA COMPANY 2016/2017 3 Marco Berti as Pollione and Sondra Radvanovsky as Norma in the COC’s production of Norma, when it was mounted at San Fransisco Opera in 2014. Part of this production, illustrated over the next few pages, was built at the COC’s

4 CANADIAN OPERA COMPANY 2016/2017 Scene Shop in Toronto. NORMABY VINCENZO BELLINI

Opera in two acts w Libretto by Felice Romani, based on a play by Alexandre Soumet First performance: Teatro alla Scala, Milan on December 26, 1831

NEW COC PRODUCTION Co-production with San Francisco Opera, Lyric Opera of Chicago, and Gran Teatre del Liceu (Barcelona). Last performed by the COC in 2006 October 6, 15, 18, 21, 23, 26, 28, November 5, 2016 Sung in Italian with English SURTITLES™

THE CAST AND CREATIVE TEAM (in order of vocal appearance)

Oroveso Clotilde Lighting Designer Dimitry Ivashchenko Aviva Fortunata^ Duane Schuler Pollione Conductor Chorus Master Russell Thomas Stephen Lord Sandra Horst^**** Flavio Director Stage Manager Charles Sy†*** Kevin NewburyD Jenifer Kowal Norma Assistant Director SURTITLES™ Producer Sondra Radvanovsky* Marilyn Gronsdal Gunta Dreifelds (Oct. 6, 15, 18, 21) Elza van den Heever Set Designer D (Oct. 23, 26, 28, Nov. 5) David Korins

Adalgisa Costume Designer D Isabel Leonard** Jessica Jahn

Major artist support made possible by Jack Whiteside * Sondra Radvanovsky’s performance is generously sponsored by The Tauba and Solomon Spiro Family Foundation ** Isabel Leonard’s performance is generously sponsored by Sue Mortimer *** Charles Sy’s performance is generously sponsored by Peter and Hélène Hunt **** Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price

D COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change.

ACT I 85 minutes INTERMISSION 25 minutes ACT II 70 minutes Performance time is approximately three hours. CANADIAN OPERA COMPANY 2016/2017 5 NOTES The foreboding door to the outside world, the totem bullheads on the wall, and Norma’s children’s miniature Bellini’s Norma is a story about the rituals of sacrifice, both elements of war all reflect this world of sacrifice and public and private, that inform the entire opera; from the conflict. Our space is both a temple and a war factory, as Druid community’s collective sacrifice during wartime the Druids work to build a war machine to unleash upon to Norma’s threatened sacrifice of her own children and, the occupying Romans. In our production, the entire ultimately, her own life. While little is known about actual chorus is preparing the war effort: their distinct clothes, Druid religious rituals, mythology suggests that human hair, and tattoos all augment the feeling of a unified and animal sacrifice were central to the Druid ethos. community pursuing a common cause. Although we have In researching ancient Druid and Gaulish mythology, set the production in a mythic, Game of Thrones-inspired my design team and I were drawn to these images of milieu, Norma feels very contemporary to me. Norma’s sacrifice—like the Ritual of Oak and Mistletoe involving children are already being indoctrinated into a world of the slaughter of two white bulls, as described by Pliny war, with its requisite betrayals and sacrifices. Norma’s the Elder in the first century BCE. We were also inspired moments with her children are deeply moving to me, by images of “sacred forests” and legends that envisaged especially in the hands of the gifted singing actresses trees as the physical manifestation of the gods. As the Sondra Radvanovsky and Elza van den Heever. Her opera illustrates, burning effigies seem to have been rumination about whether or not to kill her own children central to Druid rituals, often taking the form of a wooden envisions both a Medea-like act of revenge and an act or wicker man or other such sculptural representations of of protection from the violent world she knows awaits human beings or animals. them (as in Toni Morrison’s classic novel Beloved). In our production, Norma breaks the cycles of violence as she turns the war machine into an effigy and the instrument of her ultimate sacrifice.

Kevin Newbury, director

Druidic mythology, and the idea of the “sacred forest,” informed the set design of this production.

6 CANADIAN OPERA COMPANY 2016/2017 SYNOPSIS her again to come away with him, but she refuses and vows she would rather die than steal him from Norma. ACT I Gaul, 50 BCE, during the Roman occupation INTERMISSION Near a forest at night, the priest Oroveso leads the Druids in a prayer for revenge against the conquering Romans. ACT II After they have left, the Roman proconsul Pollione admits Norma tries to bring herself to kill her children in their to his friend Flavio that he no longer loves the high sleep to protect them from an uncertain future with their priestess Norma, Oroveso’s daughter, with whom he has father. She changes her mind and summons Adalgisa, secretly had two children. He has fallen in love with a advising her to marry Pollione and take the children young novice priestess, Adalgisa, who returns his love. The to Rome. Adalgisa refuses—she will go to Pollione, but Druids assemble and Norma prays to the moon goddess only to persuade him to return to Norma and the women for peace. She tells her people that as soon as the moment reaffirm their friendship. Oroveso announces that a new for their uprising against the conquerors arrives, she commander will replace Pollione and tells the Druids that herself will lead the revolt. At the same time, she realizes they must be patient to ensure the success of the eventual that she could never harm Pollione. When the grove is revolt. deserted, Adalgisa appears and asks for strength to resist Pollione, who finds her crying and urges her to flee with Norma is stunned to hear that Adalgisa’s pleas have not him to Rome. persuaded Pollione, and in a rage she urges her people to attack the conquerors. Oroveso demands a sacrificial Norma tells her confidant Clotilde that Pollione has been victim and Pollione is brought in. Alone with him, Norma recalled to Rome. She is afraid that he will desert her and promises him his freedom if he will leave Adalgisa and their children. Adalgisa confesses to Norma that she has return to her. When he refuses, Norma threatens to kill him a lover. Recalling the beginning of her own love affair, and their children. She calls the Druids back and tells them Norma is about to release Adalgisa from her vows and asks that a guilty priestess must die, referring to herself. Moved for the name of her lover. As Pollione appears, Adalgisa by her nobility, Pollione asks to share her fate. Norma begs answers truthfully. Norma’s kindness turns to fury. She Oroveso to watch over her children and prepares to die tells Adalgisa about her own betrayal by the Roman with her lover. soldier. Pollione confesses his love for Adalgisa and asks

CANADIAN OPERA COMPANY 2016/2017 7 Sondra Radvanovsky as Norma, a conflicted leader of her people

8 CANADIAN OPERA COMPANY 2016/2017 MUSIC STAFF ASSISTANT STAGE MANAGERS UNDERSTUDIES Ben Malensek (Head Coach) Kristin McCollum Norma Aviva Fortunata Rachel Andrist Kate Porter Clotilde Lindsay Barrett Stéphane Mayer (Ensemble Studio Intern Coach) Flavio Aaron Sheppard ASSISTANT LIGHTING DESIGNER ASSISTANT CONDUCTOR Davida Tkach Derek Bate Siobhan Sleeth

CANADIAN OPERA COMPANY ORCHESTRA

VIOLIN I Nicholaos Papadakis* BASSOON Marie Bérard, Concertmaster Angela Rudden* Eric Hall, Principal Banda The Concertmaster’s chair has Beverley Spotton Elizabeth Gowen (leave of FLUTE been endowed in perpetuity by Yosef Tamir absence) Tristan Durie* Joey and Toby Tanenbaum William Cannaway* Aaron Schwebel, Associate CELLO OBOE Concertmaster Bryan Epperson, Principal HORN Lief Mossbaugh* Jamie Kruspe, Assistant Alastair Eng, Associate Principal Mikhailo Babiak, Principal Concertmaster Paul Widner, Assistant Principal Janet Anderson CLARINET Anne Armstrong Maurizio Baccante Bardhyl Gjevori James Ormston* Sandra Baron Olga Laktionova Gary Pattison Bethany Bergman Elaine Thompson BASSOON Nancy Kershaw TRUMPET Lisa Chisholm* Dominique Laplante BASS Robert Weymouth, Acting Yakov Lerner Alan Molitz, Principal (leave of Principal HORN Jayne Maddison absence) Michael Fedyshyn* Roslyn Black* Neria Mayer Jonathan Yeoh, Acting Principal* Michele Gagnon* Elizabeth Johnston Robert Speer, Assistant Principal TROMBONE Tom Hazlitt Charles Benaroya, Principal TRUMPET VIOLIN II Paul Langley Ian Cowie Brendan Cassin* Paul Zevenhuizen, Principal Robert Wolanski* Andrew Dubelsten* Csaba Koczó, Assistant Principal BASS TROMBONE Michelle Wylie* James Aylesworth FLUTE Herbert Poole Christine Chesebrough* Douglas Stewart, Principal BASS TROMBONE Hiroko Kagawa* Shelley Brown (leave of absence) CIMBASSO David Pell* Renée London* Maria Pelletier* Scott Irvine, Principal Aya Miyagawa PERCUSSION Alexei Pankratov* PICCOLO TIMPANI Chung Ling Lo* Louise Tardif Maria Pelletier* Michael Perry, Principal Marianne Urke (leave of absence) Joanna Zabrowarna OBOE PERCUSSION MUSIC LIBRARIAN Mark Rogers, Principal Trevor Tureski, Principal Wayne Vogan VIOLA Lesley Young Keith Hamm, Principal HARP ASSISTANT MUSIC LIBRARIAN Joshua Greenlaw, Assistant CLARINET Sarah Davidson, Principal Ondrej Golias Principal (leave of absence) James T. Shields, Principal (leave Sheila Jaffé, Acting Assistant of absence) STAGE LIBRARIAN Principal Afendi Yusuf, Acting Principal* Paul Langley Catherine Gray Colleen Cook Rory McLeod* PERSONNEL MANAGER Ian Cowie

*extra musician

CANADIAN OPERA COMPANY CHORUS

SOPRANOS MEZZO-SOPRANOS TENORS BARITONES/BASSES Lindsay Barrett Marianne Bindig Vanya Abrahams Grant Allert Christina Bell Susan Black Tonatiuh Abrego James Baldwin Stacie Carmona Wendy Hatala Foley Stephen Bell Jesse Clark Katy Clark Erica Iris Huang Taras Chmil Michael Downie Margaret Evans Lilian Kilianski Sam Chung Olivier Laquerre Laura Klassen Kathryn Knapp Stephen Erickson Jason Nedecky Alexandra Lennox-Pomeroy Erin Lawson William Ford Michael Sproule Ingrid Martin Anne McWatt John Kriter Jan Vaculik Kathleen (Katie) Murphy Karen Olinyk Jason Lamont Marcus Wilson Jennifer Robinson Megan Quick James Leatch Dylan Wright Teresa van der Hoeven Vilma Indra Vitols Stephen McClare Gene Wu Ilana Zarankin Cindy Won Eric Olsen Michael York

CANADIAN OPERA COMPANY 2016/2017 9 THE DRAMA BEHIND BELLINI’S NORMA BY GIANMARCO SEGATO

Bel canto is one of those slippery doubt been Maria Callas, universally on the condition that his favourite musical terms that ultimately lauded for coming closest to meeting poet was the librettist.[1] Composers obscures more than it illuminates. Its Bellini’s demands for dramatic from later in the Romantic Italian literal translation from the Italian is declamation and technical virtuosity. It tradition, such as Verdi, primarily “beautiful singing” and like most labels is into this grand tradition stretching looked to dramatic situations for used to describe historical artistic back to Pasta that the COC’s two inspiration, while an earlier Romantic movements, was invented long after Normas, Canadian-American soprano like Bellini was concerned foremost the fact as a convenient way to refer Sondra Radvanovsky and South with the quality of the verse itself. to Italian opera of the 18th and early African Elza van den Heever, must slot Of his earlier 1827 success, Il Pirata, 19th centuries. Confusion arises since themselves, bringing their own unique Bellini said, “Just look at [it] and you bel canto is even more commonly qualities to this iconic role without will see how it is the poetry, not the used to refer to a specific singing style succumbing to the daunting, heavy situation, that inspired my genius.”[2] characterized by beautiful, long, legato weight of expectation that hangs about Pioneering 19th-century Italian opera melodies and dazzling vocal fireworks it. scholar Friedrich Lippmann has known as coloratura. While not noted that contemporary reviewers entirely inaccurate, these definitions Sondra Radvanovsky (the COC’s of Il Pirata used the term “filosofico” are limiting and too often present bel rapturously received Aida in 2010 and (“philosophical”) to indicate Bellini canto opera as an undifferentiated Elizabeth I in 2014’s Roberto Devereux) had applied a new, more psychological body of works which privilege pretty acknowledges that her “journey with approach to opera and to the treatment singing over meaningful drama. this role really has progressed quickly. of human emotion. This latter, pejorative view lacks the Bel canto was rather new to me when I benefit of a more nuanced, contextual sang my first Norma [2011 in Oviedo, Armed with a heightened awareness understanding of a composer Spain]. I had only sung [one other bel of the importance Bellini placed on like Vincenzo Bellini, who in his canto role, Donizetti’s] Lucrezia Borgia text, we can perhaps put to rest the quintessential bel canto opera Norma before I undertook Norma for the first dismissive view (nowadays, much (1831), was directly inspired by the time, so I hadn’t had much experience less prevalent) that bel canto opera dramatic possibilities contained within with the style of music.” The role is offers nothing more than an excuse the poetic texts he set to music. very text heavy and many of the words for the type of vocal display much- are “archaic ones at that, so I spent loved by “canary fanciers.” To be sure, From the very start, critics recognized much time translating the Italian word Norma’s technical demands are a in the role of Norma a supreme by word.” With this, Radvanovsky huge part of the bel canto challenge, challenge for the attrice cantante draws attention to an aspect of Bellini’s as Radvanovsky acknowledges: “There (“singing actress”). Bellini composed compositional methods which can be are so many nuances to singing it that the role for Giuditta Pasta, famed not lost on listeners today, distracted as we are difficult, especially for a larger only for her extraordinary, if flawed, might be by his gorgeous melodies. voice… You start the evening with voice but also for the physicality Bellini was profoundly inspired by [Norma’s opening aria] “Casta Diva” of her performances that made her the poetry of Felice Romani’s text, so and the very declamatory recitativo the leading singing actress of her much so that the score’s overall pattern before it… literally starting with a time. Ever since, this Mount Everest of recitativo (the sung, “spoken” text) BANG!” This aspect of Bellini’s vocal of soprano roles has found its most versus arias (the more expressive, writing was labeled canto declamato successful interpreters in singers who reflective musical passages) was (“declamatory singing”) and has could meet both its fierce technical directly determined by the type of been described by musicologist Mary demands as well as its myriad, verse already laid out in the libretto. Ann Smart as a “melodic style in contrasting emotional peaks and Bellini was so attached to Romani’s which singing approximates speech; valleys. In the latter 20th century, the elegant verse that he would only recitative becomes more prominent, golden standard Norma has without a accept commissions to write an opera more melodically vivid, more

10 CANADIAN OPERA COMPANY 2016/2017 Did you know that Norma was the first full-scale opera ever performed in Toronto?

A single performance was presented by the touring Artists’ Association Italian Opera Company on July 8, 1853 at the Royal Lyceum, a building that is no longer standing but was located on the south side of King Street, between York and Bay Streets. The company and the production arrived by stage coach and steamboat.

It was reviewed by the Anglo-American magazine where it was noted that “the theatre is so small that Devries’ voice was a little too loud, and the prompter was perhaps too audible, but these are minor imperfections. The orchestra was very fair, but rather loud… We shall not attempt to criticize, that an entire opera has been performed in Toronto is a great fact.”

Sondra Radvanovsky as Norma with members of the San Francisco Opera Chorus

CANADIAN OPERA COMPANY 2016/2017 11 emotionally intense.”[3] Bellini made her vocal writing.” As Bellini scholar these declaimed passages even Herbert Weinstock has argued, “every More About Bellini more prominent by thinning out trill, every chromatic run and every their orchestration, ensuring words ornamentation in Norma's arias make Vincenzo Bellini had a short and could be heard and understood perfect dramatic sense. [These] vocal brilliant life. Born in Catania, clearly. embellishments… were never mere Sicily in 1801, he grew up in a vehicles for technical virtuosity, as musical household and entered Elza van den Heever (the COC’s later singers sometimes made them the Conservatory in Naples at stunning Leonora in 2012’s Il appear… the runs, shakes, scales and 18. His first two operas were Trovatore) speaks to the equal trills were intended to be dramatically performed in Naples, but it was the premiere of his third opera, vocal and dramatic demands of expressive—of fury, madness, ecstasy, [4] Il Pirata, at La Scala in Milan in Norma, emphasizing the “endless or rapture.” 1827 that made him a star. Unlike amounts of dramatic singing… but many other opera composers of [much that is] also very delicate Bellini clearly intended his beautiful his time, Bellini never held an and subtle. The sheer endurance melodies to communicate profound official position, maintaining a required to sing from the beginning depth of emotion and character. Van freelance career and getting paid all the way to the end is incredible! den Heever concurs, noting Norma’s very handsomely for it. For the The most delicate passages come enduring appeal is based as much rest of his life he lived mainly in toward the end of the opera when on its drama as its music: “She is so Milan, also travelling to London you have already sung so much complex and her relationships with and Paris. He enjoyed his success and your body and voice is just everyone around her are so twisted. and the admiration of other spent! So, it really is like climbing She is actually very real; her emotions composers such as Verdi, upon a mountain… I have always run hot and cold very easily (like some whom he had a distinct influence. regarded it as such. But also, just of us!); her music is wild, exciting, He was known to be charming and sensitive, occasionally vain as rewarding. It’s like reaching the tender and sweet all in one. It’s and self-centered, and conducted top of a mountain and being able wonderful to play such a woman!” a complicated love life, often with to observe the most exquisite view married women. He was plagued imaginable!” Radvanovsky also in later years by what is thought flags the role’s abrupt juxtapositions Gianmarco Segato is the COC’s Adult to be amoebic dysentery. A bad of canto declamato versus more Programs Manager. attack while he was in France was lyric passages: after the dramatic mistakenly thought to be cholera recitativo that introduces “Casta NOTES and so Bellini died in isolation in diva,” “you then have to whittle the 1. Simon Maguire, “Norma and the importance 1835. At his funeral in Paris, it is voice down to almost a whisper as of poetry” Welsh National Opera Guide, 1985 reported that composers Cherubini 2. David R B Kimbell, “Vincenzo Bellini and you sing the aria, the prayer to the and Rossini were two of the Felice Romani,” Welsh National Opera Guide, holders of the corners of Bellini’s gods. So the vocal aspects in just the 1985 shroud. He was buried in Paris but first 20 minutes alone are immense… 3. Mary Ann Smart, “Bellini’s Fall from Grace,” in 1876 his remains were removed this is what the whole evening is Opera (March 2002) and taken back to his home town about, the duality of the character 4. Herbert Weinstock. Vincenzo Bellini: His Life of Catania. of Norma which is represented in and His Operas. New York: Alfred A. Knopf, 1971 COC JOIN US FOR OPERA INSIGHTS 365 Opera Insights features big conversations and interactive events that take participants inside the operas of the Canadian Opera Company’s 2016/2017 season. GREAT BEL CANTO DIVAS OPERA CHORUS SING ALONG I HAVE KNOWN Tuesday, November 1: 7 – 8:30 p.m. Saturday, October 29: 1:30 – 3 p.m. Warm up those pipes as you join COC Chorus Master Sandra Horst along with members of the COC Chorus Join Norma conductor and witty raconteur Stephen and learn to sing popular opera chorus favourites! Lord in a fascinating, multi-media journey covering his work with some of the world’s greatest bel canto divas, from the legendary Joan Sutherland to the RESERVE YOUR PLACE AT THESE FREE EVENTS AT COC’s own Norma, Sondra Radvanovsky. coc.ca/OperaInsights

12 CANADIAN OPERA COMPANY 2016/2017 Tattoos, Tents, and Champagne! GET TO KNOW ELZA VAN DEN HEEVER

Audiences first saw Elza on the Four Seasons Centre stage as Leonore in 2012’s Il Trovatore.

CANADIAN OPERA COMPANY 2016/2017 13 Sarah Connolly as Ariodante, Patricia Petibon as Ginevra and Luca Tittoto as the King in a scene from Ariodante. All photographs of this COC co-production are from the Festival d’Aix en Provence performances in 2014.

14 CANADIAN OPERA COMPANY 2016/2017 ARIODANTE BY GEORGE FRIDERIC HANDEL

Opera seria in three acts w Anonymous libretto based on a work by Antonio Salvi, adapted from Ludovico Ariosto’s Orlando Furioso w First performance: Covent Garden, London on January 8, 1735 Edited for the Hallische Händel Ausgabe by Fritz Lehmann. Used by arrangement with European American Music Distributors Company, Canadian agent and U.S. agent for Baerenreiter-Verlag, publisher and copyright owner.

COC PREMIERE Co-production with Féstival d’Aix-en-Provence, Dutch National Opera, and Lyric Opera of Chicago October 16, 19, 22, 25, 27, 29, November 4, 2016 Sung in Italian with English SURTITLES™

THE CAST AND CREATIVE TEAM (in order of vocal appearance)

Ariodante Conductor Choreographer Alice Coote Johannes Debus* Lucy BurgeD Ginevra Director Puppetry Director Jane Archibald Richard Jones and Design Finn CaldwellD Dalinda Associate Director Ambur Braid^*** Benjamin Davis Puppetry Design Nick BarnesD Polinesso Assistant Director Varduhi AbrahamyanD Allison Grant Chorus Master Sandra Horst^***** Lurcanio Set and Costume Designer Owen McCausland^ ULTZ D** Stage Manager Stephanie Marrs King of Scotland Lighting Designer D Johannes Weisser Mimi Jordan Sherin SURTITLES™ Producer Gunta Dreifelds Odoardo Aaron Sheppard†****

* Johannes Debus is generously underwritten by George and Kathy Dembroski ** ULTZ is generously sponsored by Robert Sherrin *** Ambur Braid’s performance is generously sponsored by Peter M. Deeb **** Aaron Sheppard’s performance is generously sponsored by Margaret Harriett Cameron and the late Gary Smith ***** Sandra Horst and the COC Chorus are generously underwritten by Tim and Frances Price

D COC Debut † Current member of the COC Ensemble Studio ^ Graduate of COC Ensemble Studio Program information is correct at time of printing. All casting is subject to change.

Sarah Connolly as Ariodante, Patricia Petibon as Ginevra and Luca Tittoto as the King in a scene from Ariodante. All photographs of this COC co-production are from the Festival d’Aix en Provence performances in 2014. ACT I 65 minutes INTERMISSION 20 minutes ACT II 75 minutes INTERMISSION 25 minutes ACT II 55 minutes Performance time is approximately four hours. CANADIAN OPERA COMPANY 2016/2017 15 Patricia Petibon as Ginevra

16 CANADIAN OPERA COMPANY 2016/2017 NOTES SYNOPSIS

Ariodante stands out as one of Handel’s more melancholy ACT I works. It’s full of psychologically rich and interesting Ginevra tells Dalinda that she is in love with Ariodante characters, with Ariodante and Ginevra at the centre of it and that they have the blessing of her father, the king. all. Inspired by the original Edinburgh setting of the opera, Polinesso enters and expresses his love for Ginevra, who we set this production on a remote Scottish island, but it rejects him. Dalinda tells Polinesso that Ariodante is his could just as easily be a village in the Canadian Maritimes. rival, but she also hints at her own feelings for Polinesso, It’s a close-knit, male-dominated community with a strong who decides to use Dalinda to destroy Ariodante. moral centre rooted in Calvinism. Their industry is based on fishing and wool, which is reflected in the costume Ariodante and Ginevra are overjoyed when the king gives designs which have islanders dress in Aran-style jumpers the order for their wedding to be celebrated the next day. and kilts. It’s a physical, working community, so while the Polinesso leads Dalinda to believe he loves her. Lurcanio, production is set in the late-1960s or early-‘70s, there is Ariodante’s brother, confesses to Dalinda that he loves her, a sense of timelessness in the costumes and the dress is but he is rejected. Ariodante and Ginevra celebrate their similar for men and women. Only Ginevra stands apart, wedding eve. with her more feminine clothes. INTERMISSION The islanders are essentially good people. Though they may have weaknesses, they have a strong moral compass. ACT II There is only one character that is really, actively bad Later that night, Polinesso tells Ariodante that he is amongst them: Polinesso. In our production, he takes the already Ginevra’s lover and is surprised that Ariodante form of a charlatan preacher from a city on the mainland. is marrying her. Ariodante conceals himself and Dalinda, He’s charismatic and interested in young women who disguised as Ginevra, invites Polinesso into her room. have virginal and “ecstatic” qualities, such as Ginevra. Ariodante is grief-stricken. Lurcanio, who has seen all of But he has a very cruel, misogynistic streak, reminiscent this, prevents Ariodante from killing himself, convincing of certain passages in the Old Testament. The King of him instead to seek revenge. the island is in a psychological slump after the death of his wife and takes comfort in Polinesso’s teachings, but is News is brought to the king that Ariodante has plunged oblivious to the evil infiltrating his community. from a cliff into the sea and is presumed drowned. Ginevra collapses in grief. Lurcanio claims that Ariodante has While the opera is titled Ariodante, Ginevra, in this killed himself because of Ginevra’s infidelity and he is production, is the character at its heart. She’s a young willing to defend his story to anyone who will challenge woman singled out and punished by a male-dominated him. community for her sense of imagination and fantasy, and in the end she makes a very important choice to INTERMISSION leave this place of oppression. Her betrothed from a neighbouring island, Ariodante, is sensitive, sincere and ACT III noble-hearted, both in happiness and defeat. Lurcanio Ariodante has survived but is in torment. He meets (Ariodante’s brother), driven by his anger and sense of Dalinda who is trying to escape Polinesso’s assassins. She justice, encourages the King to act violently. Dalinda (the now understands Polinesso’s trickery and explains all to other main female character in the opera) is tortured by Ariodante. her own blinkered desire and Polinesso’s machinations. In the midst of this, Ginevra is always moving forward, while Polinesso challenges Lurcanio’s story. They will duel with the others are immobilized by their anger, their masochism Polinesso as Ginevra’s champion. She resists this but the or their depression. king insists despite Ginevra’s protests.

While we’ve taken inspiration from the 19th-century During the duel, Lurcanio fatally injures Polinesso. A new theatre of Ibsen and Strindberg for the overall style of the challenger appears who reveals himself to be Ariodante. production, we’ve added an almost choreographed realism He promises to explain everything as long as Dalinda that plays with the formality of 18th-century theatre and is forgiven her innocent part in Polinesso’s deception. heightens the psychological workings of Ariodante. Polinesso dies, having confessed everything, Dalinda is forgiven and accepts Lurcanio’s love. Benjamin Davis, Associate Director Ginevra is overjoyed at the sight of Ariodante and by her father’s blessing. The two couples celebrate the happy outcome of their troubles.

CANADIAN OPERA COMPANY 2016/2017 17 CANADIAN OPERA COMPANY ORCHESTRA

VIOLIN I VIOLA FLUTE PERCUSSION Marie Bérard, Concertmaster Keith Hamm, Principal Douglas Stewart, Principal Trevor Tureski, Principal The Concertmaster’s chair has Joshua Greenlaw, Assistant Shelley Brown (leave of absence) been endowed in perpetuity by Principal (leave of absence) Leslie Newman* HARPSICHORD Joey and Toby Tanenbaum Sheila Jaffé, Acting Assistant Johannes Debus Aaron Schwebel, Associate Principal PICCOLO Christopher Bagan* Concertmaster Catherine Gray Douglas Stewart, Principal Jamie Kruspe, Assistant Beverley Spotton Shelley Brown (leave of absence) CELLO CONTINUO Concertmaster Yosef Tamir Leslie Newman* Alastair Eng Anne Armstrong Sandra Baron CELLO OBOE ARCHLUTE AND BAROQUE Bethany Bergman Bryan Epperson, Principal Mark Rogers, Principal GUITAR Nancy Kershaw Alastair Eng, Associate Principal Lesley Young Sylvain Bergeron* Dominique Laplante Paul Widner, Assistant Principal Yakov Lerner Maurizio Baccante BASSOON Jayne Maddison Olga Laktionova Eric Hall, Principal MUSIC LIBRARIAN Neria Mayer Elaine Thompson Wayne Vogan HORN VIOLIN II BASS Mikhailo Babiak, Principal ASSISTANT MUSIC LIBRARIAN Paul Zevenhuizen, Principal Alan Molitz, Principal (leave of Gary Pattison Ondrej Golias Csaba Koczó, Assistant Principal absence) James Aylesworth Jonathan Yeoh, Acting Principal* TRUMPET STAGE LIBRARIAN Elizabeth Johnston Robert Speer, Assistant Principal Robert Weymouth, Acting Paul Langley Aya Miyagawa Tom Hazlitt Principal Louise Tardif Paul Langley Michael Fedyshyn* PERSONNEL MANAGER Marianne Urke Ian Cowie Joanna Zabrowarna TIMPANI Michael Perry, Principal * extra musician

Audiences may recall Richard Jones’ production of The Queen of Spades during the COC’s 2002/2003 season. A shared feature with his production of Ariodante is the haunting use of puppetry, an element that has enjoyed a huge gain in popularity in the last decade in all genres of theatre.

18 CANADIAN OPERA COMPANY 2016/2017 MUSIC STAFF ASSISTANT STAGE MANAGERS UNDERSTUDIES ASSISTANT PUPPETRY DIRECTOR Christopher Bagan (Head Coach) Gerry Egan Ariodante Emily D’Angelo Kate Colbrook Timothy Cheung Chris Porter Ginevra Jennifer Taverner Hyejin Kwon (Ensemble Studio Dalinda Danika Lorèn PUPPETEERS Intern Coach) ASSISTANT LIGHTING DESIGNER Polinesso Lauren Eberwein Sam Clark Davida Tkach Odoardo Charles Sy Tommy Luther ASSISTANT CONDUCTOR Siobhan Sleeth John Trindle Walter Althammer

CANADIAN OPERA COMPANY CHORUS

SOPRANOS MEZZO-SOPRANOS TENORS BARITONES/BASSES Lindsay Barrett Wendy Hatala Foley Stephen Bell Jason Nedecky Alexandra Lennox-Pomeroy Anne McWatt Taras Chmil Gene Wu Jennifer Robinson Karen Olinyk Sam Chung Michael York

CANADIAN OPERA COMPANY 2016/2017 19 FROM ARTASERSE TO ARIODANTE HANDEL AND OPERA IN THE 1730s BY STEPHAN BONFIELD

The decade of the 1730s was a rough Handel dearly. People flocked to it, his harmonies and textures, the overall one for Handel. His exclusive, Crown- considerably reducing the composer's structure became longer and more chartered opera company, the Royal Haymarket theatre audiences. Handel's elaborate, comprised of large blocks of Academy, was under pressure from Royal Academy went out of business. musical time. competitors yet again, his health had failed several times, and he had gone The 1730s also ushered in a new Furthermore, Artaserse carried the broke. And yet, he still soldiered on, operatic phenomenon that would prove careers of many stars, notably the fighting the inevitable decline of the to be one of the greatest and most great virtuoso castrato Farinelli, to Alessandro Scarlatti model of opera, durable hits of the entire century—a prominence. The London pasticcio the only creative world he knew story set 90 times to a libretto by the performance version set to songs by and the only means, he thought, of era's greatest operatic plot maestro, composers such as Hasse, Ariosti and sustaining him financially. Metastasio. It was called Artaserse, and Porpora was sponsored by Handel's recounted the tale of an assassination greatest competitor, the Opera of the By contrast, the previous decade of the attempt against King Artaxerxes of Nobility, who had wooed Farinelli 1720s had been a tremendous boon for Persia. The opera was a smash hit in as the company's franchise star. His Handel. With Giulio Cesare, Tamerlano any of its multiple versions, especially singing often gave way to unbridled and Rodelinda he had scaled incredible its very first incarnations by Leonardo adulation, with one woman crying out commercial and artistic heights, Vinci and Johann Adolph Hasse, “One God, one Farinelli!” at the end of advancing the expressive range of filled as they were with many musical a particularly acclaimed performance. opera considerably. Handel had novelties that bolstered a lurid plot of found innovative ways to extend the attempted regicide pitting love against When Handel re-founded the (second) focused, dramatic intent of an aria, duty. Royal Academy of Music, he needed even if plot had been reduced to a a viable commercial and artistic level of secondary importance, often response, and respond he did. In 1735, beguiled by bizarre twists. Yet this was But something he created two of his most ambitious also a time when opera productions changed in the musical masterpieces in the opera had begun to collapse under the seria genre, Ariodante and Alcina. weight of salary demands from its star 1730s. With To combat Opera of the Nobility's singers with associated staging costs Handel’s responses Farinelli, Handel countered with ever rising. Arias had become long his own marquee star singer, the and overly decorous, virtuosity had to the Artaserse remarkable virtuoso castrato Carestini, overruled art, and the arbiters of public himself a singer of considerable range taste, both patrons and audience, had phenomenon we and vocal acrobatic talents, to take on grown tired of it all. see a new kind of the title role of the prince Ariodante. That's when John Gay fired the first expression coming Further, in response to the longer salvo against Handel and opera sections of sustained musical time seria. The Beggar's Opera (1728) used from the composer. found in Artaserse, it is thought that common English words and music hall Handel in turn made his operas longer type song often set to derisive lyrics Vinci's take on the Artaserse plot too, albeit remaining rooted in the old saturated with anti-high art sentiment pushed opera beyond simpler models da capo aria tradition [opening “A” to signal the beginning of the end of explored by Scarlatti in previous section followed by a contrasting “B” the old opera seria order and this cost decades. While managing to simplify section, completed by a repeat of “A”].

20 CANADIAN OPERA COMPANY 2016/2017 Patricia Petibon as Ginevra and Luca Tittoto as the King.

Handel seemed to set himself the populist theatre piece. Regardless, the composer. The dramatic complexity task of creating more novel ways to placement of composer at the top of of the sorceress Alcina for example, compose in A-B-A form, demanding the artistic pyramid is a Romantic-era/ and the greater depth of character excruciating virtuosity from his Modernist model of how art tends to be development demonstrated by her singers, sure to impress the audience. created in the opera house today. futile passions was beginning to And as a composer and a businessman, become a hallmark of opera long he had to find the best way to please In Handel's time, the flow proceeded before the reforms of Gluck and his audiences. very differently, beginning with the the innovations of Mozart. Equally royal patron first, moving to audience important was the tremendous range When we think of the process of how taste second, singers' demands third of emotion Handel composed for his operas are mounted and performed and the librettist fourth. Placing lead character Ariodante, as evidenced today, we believe in a hierarchy of sorts distantly behind them all was the in his remarkable aria with bassoon in which the composer and librettist composer, whose impossible job was to obbligato, “Scherza infida.” Or, how reign supreme followed by the director try to please everyone. about Handel's deft depictions of and creative team, and very often lastly Ginevra's emotional struggles with the the performers themselves. Patrons But something changed in the 1730s. loss of her betrothed Ariodante, to say and audiences are not given top With Handel's responses to the nothing of the musical originality to be consideration unless a composer states Artaserse phenomenon we see a new found in their Act I love duet, “Prendi, explicitly that the goal is to create a kind of expression coming from the prendi da questa mano”?

CANADIAN OPERA COMPANY 2016/2017 21 Music was moving beyond the simple for the sake of novelty, but because portrayal of one emotion throughout the composer's own internal creative More About Handel an aria or an entire opera—known as development demands a similar, affect—to something more emotionally creative response from our directors Handel’s phenomenal career nuanced. Handel, it seems, was starting and production teams. might never have happened. to please himself more as a creative Born in Halle, Prussia, he was artist, while straddling the commercial Handel truly rose to the occasion with discouraged by his parents from line of pleasing his audiences. sublime music in Ariodante, a new studying music. However his path for him to tread, trying out what father’s employer, the Duke of One essential reason why this he needed to stay in business, while Saxe-Weissenfels, overheard the production of Ariodante is set in a still planting another foot firmly in nine-year-old Handel playing the organ, and persuaded his parents 1960s seaside town of Scottish heritage the past glories of a medium that was to give him a musical education. has to do with our contemporary already beginning to change faster In 1703, 18-year-old Handel moved response to the composer’s artistic than the composer was fully prepared to Hamburg to work at the opera development in the 1730s. Handel to acknowledge. But Handel eventually house as a violinist. His first was forced to find new paths to would find a solution. Within a few opera, Almira, was mounted the musical expression that were driven years of Ariodante he had stopped following year and was a great by librettist and audience demands. writing opera and began composing success. Handel never looked back. Likewise, in our time, we respond to great oratorios such as Messiah. And He travelled extensively through such developments in the composer's the rest, as they say, is history. Italy, familiarizing himself with artistic life with scenarios that can the Italian style of operas and more appropriately illuminate the church music, reaching London human drama Handel sought to Stephan Bonfield is a frequent speaker in 1710. Handel was to present innovatively illustrate in his music. at the COC and other opera companies the first real Italian opera written for London and performed by We often modernize and update across Canada and is the opera and Italians: Rinaldo premiered in operas because, in some sense, we ballet critic for The Calgary Herald 1711 and was a sensation. He are frequently forced to do so, not and Edmonton Journal. continued to compose more operas to mixed success but was also writing church music. Water COC Music premiered in 1717, and, in the same year, he wrote 11 anthems JOIN US FOR 365 and two dramatic works, Acis and Galatea and Esther. In 1719, OPERA INSIGHTS Handel was appointed the musical director of the newly founded Opera Insights features big conversations and interactive events that Royal Academy of Music, for take participants inside the operas of the Canadian Opera Company’s which he wrote a dazzling series of 2016/2017 season. operas: Rodelinda, Giulio Cesare, Ottone, and Admeto, but he lost his position when the academy ARIODANTE BOOTCAMP! closed in 1728 due to lack of funds. Friday, October 14: 7 – 8:30 p.m. In 1729, he launched a series of opera seasons at the King’s Gain an exclusive glimpse at what it takes to bring an opera to the stage Theatre. Works included Acis, when COC Music Director Johannes Debus prepares the young artists of Orlando, Ariodante and Alcina. In the COC Ensemble Studio for roles they are understudying in Handel’s 1741, Messiah premiered in Dublin Ariodante. and Handel stopped composing operas. This may have been related to British audiences’ growing BAROQUE STYLE: HANDEL’S ARIODANTE desire for English-language Thursday, October 20: 7 – 8:30 p.m. works. From then on, Handel’s work comprised English-language Take a trip back in time to 18th-century London with COC Orchestra oratorios, (including Semele, violinists Paul Zevenhuizen and Liz Johnston, joined by musicologist and COC speaker Stephan Bonfield, as they discuss and perform works by Samson, Belshazzar, and Judas the greatest opera composer of the Baroque era: Handel. Maccabaeus), orchestral works, and revivals of his many operas. RESERVE YOUR PLACE AT THESE FREE EVENTS AT When Handel died in London on April 14, 1759, he was buried in coc.ca/OperaInsights Westminster Abbey.

22 CANADIAN OPERA COMPANY 2016/2017 Rick and Amanda think their retirement plan will afford date nights. It won’t.

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Rain43 573 King Street East, Suite 200, Toronto, ON M5A 1M5 416.361.1804 ART DIRECTOR Client: SEN File Name: SEN-033_A_COC_Opera_Mag_FP Page: 1 Production Artist(s): CR COPY WRITER Account Manager: Paisley/Allison Creative Team: Ian Taylor/Duncan Production Contact: Agnes Fekete, Ext. 296 CREATIVE DIRECTOR Publication(s)/Description: Canadian Opera Company First Ins. Date: Fall Guide (Due Aug 15) Ad #: N/A Final Trim/Ad Size: 8.375"W x 10.875"H Bleed: 0.125" Live/Safety: 0.25" ACCOUNT MGR. Visible Opening: N/A File Scale: N/A Other Info: N/A PRODUCTION MGR. Colours: Cyan Magenta Yellow Black Saved: August 15, 2016 12:33 PM CLIENT Credits: (left) Jean-Philippe Fortier-Lazure in the Richard Bradshaw Amphitheatre, photo: Karen E. Reeves. (bottom, l-r) Ensemble Studio Competition First Prize and Audience Choice Award winner Emily D’Angelo, Centre Stage 2015, photo: Michael Cooper; A scene from the Ensemble Studio performance of The Barber of Seville, 2015, photo: Michael Cooper; Emily D'Angelo with Rashaan Allwood (on piano) in the Richard Bradshaw Amphitheatre, photo: Karen E. Reeves

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96277 AD_39782_Basnjak.indd 1 2016-08-04 3:53 PM BIOGRAPHIES: NORMA

DEREK BATE AVIVA FORTUNATA MARILYN GRONSDAL SANDRA HORST DIMITRY IVASHCHENKO (Toronto, ON) Soprano (Calgary, AB) (Toronto, ON) (Toronto, ON) Bass (Novosibirsk, Russia) Assistant Conductor Clotilde Assistant Director Chorus Master Oroveso

SELECT COC CREDITS: Carmen, SELECT COC CREDITS: The SELECT COC CREDITS: Maometto SELECT COC CREDITS: Carmen, COC DEBUT: Hunding, Die Walküre Siegfried, Pyramus and Thisbe Countess, The Marriage of Figaro II, Pyramus and Thisbe with Lamento Maometto II, The Marriage of Figaro (2015) with Lamento d’Arianna and Il (Ensemble Studio performance [ENS], d’Arianna and Il combattimento di (2016); La Traviata, Pyramus and combattimento di Tancredi e Clorinda 2016); Annina, La Traviata (2015); Tancredi e Clorinda, (2015); Associate Thisbe with Lamento d’Arianna and Il RECENT: Vodnik, Rusalka (2015); Conductor, Don Quichotte Berta, The Barber of Seville (2015); Director, Siegfried (2016); Director, La combattimento di Tancredi e Clorinda (Opéra Bastille); Ivan Chovanski, (2014); Conductor, Carmen (1979) Helmwige, Die Walküre (2015); Bohème (2009) (2015) Khovanshchina (Dutch National Fiordiligi, Così fan tutte (ENS, 2014) Opera); Sparafucile, Rigoletto RECENT: Conductor, The Student RECENT: Co-director, Madama RECENT: Conductor, The Machine (Metropolitan Opera) Prince (Toronto Operetta Theatre ADDITIONAL CREDITS: Song Prize Butterfly (Saskatoon Opera [SO]) Stops and Paul Bunyan (UofT Opera) [TOT]) Finalist in 2015 BBC Cardiff Singer UPCOMING: Daland, The Flying of the World; Finalist, Operalia UPCOMING: Director, La Cecchina UPCOMING: The Magic Flute, Dutchman (Teatro Real de Madrid); UPCOMING: Götterdämmerung, Louis Competition, 2016 (The Glenn Gould School); Assistant Götterdämmerung, Louis Riel, Tosca The Four Villains, The Tales of Riel (COC); Conductor, The Pirates of Director, Götterdämmerung, Tosca (COC) Hoffmann (Komische Oper Berlin); Penzance (TOT) (COC); Director, Don Giovanni (SO) Osmin, The Abduction from the ADDITIONAL: Director of Musical Seraglio (Semperoper Dresden) Studies at UofT Opera

JESSICA JAHN DAVID KORINS JENIFER KOWAL ISABEL LEONARD STEPHEN LORD (New York City, NY, USA) (New York City, NY, USA) (Thornhill, ON) Mezzo-soprano (New York City, (Bolton, MA, USA) Costume Designer Set Designer Stage Manager NY, USA) Conductor Adalgisa COC DEBUT COC DEBUT SELECT COC CREDITS: Maometto COC CREDITS: A Masked Ball (2014); II, The Marriage of Figaro (2016); COC DEBUT: Sesto, La clemenza di Lucia di Lammermoor (2013); Norma RECENT: Maria Stuarda (Seattle RECENT: Hamilton, Dear Evan Pyramus and Thisbe with Lamento Tito (2013) (1998) Opera); The Crucible (Glimmerglass Hansen, Misery and Motown the d’Arianna and Il combattimento di Festival); The Manchurian Candidate Musical (Broadway); Bel Canto (Lyric Tancredi e Clorinda, Bluebeard’s RECENT: Cherubino, The Marriage RECENT: Norma (English National and Carmen (Minnesota Opera) Opera of Chicago); Grease: Live (FOX Castle/Erwartung (2015) of Figaro and Rosina, The Barber of Opera); Macbeth (Michigan Opera Television); Mary Magdalene (San Seville (Metropolitan Opera [Met]); Theatre [MOT] and Opera Theatre of UPCOMING: Dead Man Walking Francisco Opera); Oscar (Santa Fe RECENT: ATG’S Messiah (Against the Ada Monroe, Cold Mountain (Santa St. Louis); La Rondine (Opera Theatre (Washington National Opera); Moby Opera) Grain Theatre) Fe Opera and Opera Philadelphia); of St. Louis) Dick (Utah Opera) Angelina, La Cenerentola (Lyric Opera UPCOMING: Tosca (COC) of Chicago) UPCOMING: La fanciulla del West (MOT); La Traviata (San Diego Opera) UPCOMING: Rosina, The Barber of Seville (Wiener Staatsoper); Charlotte, Werther (Met and Teatro Comunale di Bologna)

ADDITIONAL: Two-time Grammy Award winner, Best Opera Recording (2016 and 2013)

CANADIAN OPERA COMPANY 2016/2017 25 KEVIN NEWBURY SONDRA DUANE SCHULER (Brooklyn, NY, USA) RADVANOVSKY (Seattle, WA, USA) Director Soprano (Caledon, ON) Lighting Designer

COC DEBUT Norma COC CREDITS: Maometto II (2016); Rigoletto (2011); The Italian Girl in RECENT: Eugene Onegin (Portland COC CREDITS: Elisabetta, Roberto Algiers (2003) Opera); Fellow Travelers (Cincinnati Devereux (2014); Aida, Aida (2010) Opera); Maria Stuarda (Seattle RECENT: Don Pasquale and The COC Opera); Bel Canto (Lyric Opera RECENT: Elisabetta, Roberto Makropulos Case (San Francisco of Chicago); The Good Swimmer Devereux and title roles in Anna Opera); Béatrice et Benedict 365 (Prototype Festival); O Columbia Bolena and Maria Stuarda (Glyndebourne); Don Pasquale and La (Houston Grand Opera) (Metropolitan Opera); Aida, Aida donna del lago (Metropolitan Opera INTRODUCING (Opéra national de Paris); Tosca, [Met]); Count Ory (Seattle Opera) UPCOMING: The (R)evolution of Tosca (Bayerische Staatsoper) OUR INTERACTIVE WALL Steve Jobs (Santa Fe Opera); Bhutto UPCOMING: Cendrillon and Fidelio (Pittsburgh Opera); The Perfect UPCOMING: Manon Lescaut, Manon (Met); Die Fledermaus (Santa Fe American (Long Beach Opera and Lescaut (Royal Opera House); Norma, Opera); Norma (Lyric Opera of This fall the COC unveils the addition of a 98” Chicago Opera Theatre) Norma (Lyric Opera of Chicago); Chicago) Tosca, Tosca (Los Angeles Opera); interactive digital multi-media wall to the Four ADDITIONAL: Stag and Monsura is Amelia Grimaldi, Simon Boccanegra Seasons Centre. The COC collaborated with Waiting (short films) (Opéra de Monte-Carlo); Amelia, A BT/A Advertising and Cineplex Digital Media Masked Ball (Opernhaus Zürich) to create this exciting initiative to enliven the lobby area during performances and create an opportunity for patrons to learn about the company and season programming through video trailers, social media feeds and trivia applications. Located under the Grand Staircase in the Isadore and Rosalie Sharp City Room, the interactive wall goes live on opening night of Norma, and new applications will be added over the course of the season, so come by and see how your experience can be enriched!

Even Bellini wasn’t safe CHARLES SY RUSSELL THOMAS ELZA VAN DEN from the W.S. Gilbert Tenor (Toronto, ON) Tenor (Miami, FL, USA) HEEVER Flavio Pollione Soprano (Johannesburg, South Treatment Africa) COC CREDITS: Condulmiero, COC CREDITS: Hoffmann, The Maometto II (2016); Gastone, La Tales of Hoffmann (2012); Don José, Norma Before beginning his partnership with Arthur Traviata (2015) Carmen (2016) Sullivan, W. S. Gilbert (of the famed Gilbert COC DEBUT: Leonore, Il Trovatore RECENT: Adolfo, La Rondine (Opera RECENT: Florestan, Fidelio (Cincinnati (2012) and Sullivan operettas) wrote a series of opera Theatre of Saint Louis); Mr. Owen, Opera); Stiffelio, Stiffelio (Oper burlesques spoofing mainstream works of the Postcard from Morocco (UofT Opera); Frankfurt); Pollione, Norma (Los RECENT: Elisabetta, Maria Stuarda 19th century. His version of Norma is The Pretty Tamino, The Magic Flute (Chautauqua Angeles Opera [LAO]); Turiddu, (Metropolitan Opera [Met]); Suor Institution and Hawaii Performing Arts Cavalleria rusticana (Deutsche Oper Angelica, Suor Angelica and Giorgetta, Druidess (1869). In it, the priestesses are setting Festival) Berlin) Il tabarro (Oper Frankfurt [OF]); up a typical English church bazaar; Norma sips Elisabetta, Don Carlo (Opéra National a cup of tea, her “customary fluid,” and turns UPCOMING: First Priest, The Magic UPCOMING: Ismaele, Nabucco du Rhin) Flute and Ambroise Lépine, Louis (Metropolitan Opera); Pollione, Norma pages of the Daily Druid; Oroveso has forgotten Riel (COC) (Lyric Opera of Chicago); Cavaradossi, UPCOMING: Elettra, Idomeneo re di who he is and is searching for his calling cards Tosca (LAO) Creta (Met); Norma, Norma (Dallas Opera); Ellen Orford, Peter Grimes in order to find his own identify and Adalgisa (Wiener Staatsoper); Elvira, Ernani is the soprano; everyone jumps in the fire (OF) confessing that they have all married Romans; Oroveso discovers he is, in fact, Julius Caesar in disguise and married to Adalgisa. Apparently, it was very well received! 26 CANADIAN OPERA COMPANY 2016/2017 CANADIAN OPERA COMPANY 2016/2017 27

COC16_Fall_Fortunes_ad.indd 1 2016-09-19 4:54 PM BIOGRAPHIES: ARIODANTE ONE NATION UNDER THE ARTS

VARDUHI ABRAHAMYAN WALTER ALTHAMMER JANE ARCHIBALD NICK BARNES AMBUR BRAID Mezzo-soprano (Yerevan, (Berlin, Germany) Soprano (Truro, NS) (Hove, England) Soprano (Terrace, BC) Armenia) Assistant Conductor Ginevra Puppetry Designer Dalinda Polinesso COC DEBUT SELECT COC CREDITS: Susanna, COC DEBUT SELECT COC ROLES: Adele, Die COC DEBUT The Marriage of Figaro (2016); Fledermaus (2012); Stella, The Tales RECENT: Fidelio (Teatro Real); Donna Anna, Don Giovanni (2015); RECENT: Madama Butterfly of Hoffman (2012); Amore, Orfeo ed RECENT: Carmen, Carmen Iphigénie en Tauride (Grand Théâtre Semele, Semele (2012, 2014 Brooklyn (Metropolitan Opera, English National Euridice (2011) (Staatsoper Hamburg and Bolshoi de Genève [GTG]); Das Rheingold Academy of Music tour) Opera); The Magic Flute (Bregenzer Theatre); Malcom, La donna del lago (Ruhrfestspiele); Conductor, L’Isola Festspiele); Running Wild (Regent’s RECENT: Queen of the Night, The (Rossini Opera Festival); Ascanio, Disabitata (Rheingaufestival) RECENT: Zerbinetta, Ariadne auf Park Open Air Theatre/Chichester Magic Flute (English National Opera Benvenuto Cellini (Teatro dell’Opera Naxos (Royal Opera House, Covent Festival Theatre); The Lorax (Old Vic and Calgary Opera); Anne Truelove, di Roma); Dalila, Samson et Dalila UPCOMING: Elektra, Tristan und Garden); Konstanze, The Abduction Theatre) The Rake’s Progress (Teatro de São (Palau de les Arts, Valencia) Isolde (L’Opéra de Lyon); Cosí van from the Seraglio (L’Opéra de Lyon, Carlos); Konstanze, The Abduction tutte (GTG); Conductor, Cendrillon Théâtre des Champs-Elysées and UPCOMING: The Tempest from the Seraglio (Opera Atelier); UPCOMING: Carmen, Carmen (Opéra (Dutch National Opera Academy) Festival d’Aix en Provence) (Birmingham Royal Ballet); First Hippo Violetta, La Traviata (Arizona Opera) national de Paris and Teatro Massimo on the Moon (Les Enfants Terrible) di Palermo); Bradamante, Alcina UPCOMING: Donna Anna, Don UPCOMING: Queen of the Night, The (Opernhaus Zürich); Olga, Eugene Giovanni (Theater an der Wien); Magic Flute (COC) Onegin (Opéra national de Paris) Zerbinetta, Ariadne auf Naxos (Bayerische Staatsoper)

LUCY BURGE FINN CALDWELL ALICE COOTE BENJAMIN DAVIS JOHANNES DEBUS (London, England) (London, England) Mezzo-soprano (Cheshire, (Cardiff, Wales) COC Music Director (Berlin, Choreographer Puppetry Director/ England) Associate Director Germany/Toronto, ON) Ariodante Conductor COC DEBUT Designer COC DEBUT: Assistant Director,

COC CREDITS: Dejanira, Hercules Otello (2010) SELECT COC CREDITS: Siegfried We live in a country with a rich and deep appreciation for arts and culture, COC DEBUT RECENT: Ariodante (Dutch National (2014); The Composer, Ariadne auf and The Marriage of Figaro (2016);

Opera/Féstival Aix-en-Provence); Naxos (2011) RECENT: Revival Director, Gianni Pyramus and Thisbe with Lamento RECENT: Running Wild (Regent’s and we’re committed to fund programs that enable Canadians of all means Gianni Schicchi (Royal Opera House, Schicchi (Royal Opera House, Covent d’Arianna and Il combattimento di Park Open Air Theatre/Chichester Covent Garden); A Midsummer Night’s RECENT: Octavian, Der Rosenkavalier Garden); Carmen (Scottish Opera); Tancredi e Clorinda (2015); War and Festival Theatre); The Lorax (Old Vic); Dream (Hyogo Arts Centre, Japan); (Lyric Opera of Chicago); The Queen of Spades (Teatro dell’Opera Peace (2008) and backgrounds to enjoy the very best. The Light Princess (National Theatre); Rusalka (Scottish Opera); La Fanciulla Composer, Ariadne auf Naxos di Roma); Director, Sir John in Love War Horse (Puppeteer/Associate del West (Santa Fe Opera) (Bayerische Staatsoper and Théâtre (Royal Conservatoire of Scotland); RECENT: The Tales of Hoffmann Puppetry Director – National Theatre/ des Champs-Elysées [TdCE]); Così fan tutte (Welsh National Opera) (Bregenz Festival); The Cunning International). As Director: Lardo Proud Presenting Sponsor of the new Share the Opera program at the Dejanira, Hercules (Barbican Hall, Little Vixen (Oper Frankfurt); The (Old Red Lion) and The Elephantom Theater an der Wien and TdCE) UPCOMING: Revival Director, Marriage of Figaro (Komische (Co-director – National Theatre & Khovanshchina (Welsh National Oper Berlin); Engagements with Canadian Opera Company and proudly Canadian. West End). UPCOMING: Idamante, Idomeneo Opera); Director, Written on Skin the National Arts Centre Orchestra,

re di Creta (Metropolitan Opera); (Mahler Chamber Orchestra semi- San Diego Symphony, Cleveland UPCOMING: The First Hippo on the Octavian, Der Rosenkavalier (Royal staged European tour) Orchestra, Houston Symphony, BBC Moon (Co-director/Co-designer – Opera House, Covent Garden) Philharmonic, and Aspen Music Les Enfants Terrible UK Tour); The Festival Grinning Man (Bristol Old Vic)

UPCOMING: Salome (Metropolitan ADDITIONAL: Co-Artistic Director, Opera); Götterdämmerung and Louis Gyre & Gimble Riel (COC)

28 CANADIAN OPERA COMPANY 2016/2017 ONE NATION UNDER THE ARTS

We live in a country with a rich and deep appreciation for arts and culture, and we’re committed to fund programs that enable Canadians of all means and backgrounds to enjoy the very best. Proud Presenting Sponsor of the new Share the Opera program at the Canadian Opera Company and proudly Canadian. ALLISON GRANT SANDRA HORST RICHARD JONES STEPHANIE MARRS OWEN MCCAUSLAND (Toronto, ON) (Toronto, ON) (London, England) (Toronto, ON) Tenor (Saint John, NB) Assistant Director Chorus Master Director Stage Manager Lurcanio

SELECT COC CREDITS: The SELECT COC CREDITS: Carmen, COC DEBUT: The Queen of Spades SELECT COC CREDITS: Carmen SELECT COC CREDITS: Testo, Marriage of Figaro (2016); Revival Maometto II, The Marriage of Figaro (2002) (2016); La Traviata (2015); Madama Pyramus and Thisbe and Il Director, Semele (Brooklyn Academy (2016); La Traviata, Pyramus and Butterfly (2003, 2014); Hercules combattimento di Tancredi e Clorinda of Music, 2015), The Barber of Thisbe with Lamento d’Arianna and Il RECENT: Boris Godunov (Royal (2013); Assistant Stage Manager, (2015); Juan, Don Quichotte and Lord Seville (2015); Choreographer, Die combattimento di Tancredi e Clorinda Opera House, Covent Garden); The Siegfried (2016) Cecil, Roberto Devereux (2014); Tito, Fledermaus (2012); Choreographer/ (2015) Mastersingers of Nuremberg and La clemenza di Tito (2013) Assistant Director, The Queen of The Girl of the Golden West (English RECENT: Apocalypsis (Luminato Spades (2002) RECENT: Conductor, The Machine National Opera) Fesitval); Panamania (Pan Am Games RECENT: Arturo, Lucia di Stops and Paul Bunyan (UofT Opera) 2015 Arts and Culture Festival) Lammermoor (Pacific Opera Victoria); RECENT CREDITS: Director, The UPCOMING: Don Giovanni (English Soloist, AtG’s Messiah (Against the Hobbit (Canadian Children’s Opera UPCOMING: The Magic Flute, National Opera); La Bohème (Royal UPCOMING: The Magic Flute, Louis Grain Theatre) Company); Director/Choreographer, Götterdämmerung, Louis Riel, Tosca Opera House, Covent Garden); Der Riel (COC) Company (Music Theatre on the (COC) Rosenkavalier (Tokyo Nikikai Opera UPCOMING: Tamino, The Magic Flute Thames); Director, The Magic Flute Foundation) (COC) (Hawaii Opera Theatre); Director/ ADDITIONAL: Director of Musical Choreographer, Le nozze di Figaro Studies at UofT Opera (Sarasota Opera); Die Fledermaus, The Barber of Seville (Edmonton Opera); Romeo et Juliette, Così fan tutte (Vancouver Opera)

AARON SHEPPARD MIMI JORDAN SHERIN ULTZ JOHANNES WEISSER Tenor (St. John’s, NL) (Seattle, WA, USA) (London, England) Baritone (Oslo, Norway) Odoardo Lighting Designer Set and Costume King of Scotland

COC CREDITS: Selimo, Maometto II COC DEBUT: The Italian Girl in Designer COC DEBUT (2016); Don Curzio, The Marriage of Algiers, 2003 COC DEBUT Figaro (Ensemble Studio performance, RECENT: King of Scotland, Ariodante 2016) RECENT (Opéra de Lausanne); Don Giovanni, RECENT Der Rosenkavalier (Deutsche Oper Don Giovanni (Opéra Royal de Ma Rainey’s Black Bottom (National RECENT: Fernando, A Little Too Berlin and Lyric Opera of Chicago); Versailles); Melisso, Alcina (Teatro Theatre); Gloriana, Il tabarro (Royal Cozy (Against the Grain Theatre); Don Pasquale and La donna del Real Madrid); Onegin, Eugene Onegin Opera House, Covent Garden); The Charlie Whitten, Ours (Opera on the lago (Metropolitan Opera [Met]); The (Kristiansund Opera) River (Royal Court Theatre/Broadway); Avalon); Soloist, Lord Nelson Mass Marriage of Figaro (Seattle Opera) Mojo (West End); Jerusalem (West (Newfoundland Symphony Orchestra); UPCOMING: Don Pizarro, Leonore End/Broadway); Lohengrin (Bavarian Kronprinz, Silent Night (Opéra de UPCOMING (Theater an der Wien, Festspielhaus State Opera); Powder Her Face, Montréal) Béatrice et Benedict (Glyndebourne); Baden-Baden); Baritone, King Arthur Don Pasquale and The Makropulos Cavalleria Rusticana, I Pagliacci (Staatsoper im Schiller Theater Berlin) (English National Opera); Macbeth, UPCOMING: First Armed Man, The Case (San Francisco Opera); Falstaff (Glyndebourne Festival) Magic Flute and Middleton/Smith, Cendrillon (Met)

Louis Riel (COC) SELECT AWARDS AND NOMINATIONS Olivier Award (Best Revival, Ma Rainey’s Black Bottom; Best Set Design, Jerusalem); Tony Award nomination (Best Scenic Design, Jerusalem) 30 CANADIAN OPERA COMPANY 2016/2017 THE BMO EFFECT WITH ITS BICENTENNIAL ON THE HORIZON, BMO FINANCIAL GROUP IS CONTINUING ITS TRADITION OF BIG INVESTMENT IN THE ARTS

On the cusp of its 200th anniversary, BMO Financial Group is taking on an expanded role at the COC as the company’s first- For more than five decades BMO has been a committed ever Season Sponsor. This significant commitment continues supporter of the COC’s activities, including education a remarkable history of philanthropic support that dates and outreach programming. Left: children attend a back more than 50 years. As the COC has elevated its artistic performance of a COC production in the early days at the O’Keefe Centre, 1960s; right: students pose at the standards over that time, launched signature projects and top of the Grand Staircase prior to a BMO Financial initiatives, and built a world-class opera house that ushered Group Student Dress Rehearsal, 2014. in a new era of possibilities, BMO has been there at each step, providing vital funding, advocacy, and support.

The activities made possible by BMO over those decades span all areas of the company’s work, including education and outreach programming, such as Pre-Performance Chats and Dress Rehearsals for school groups and young people; Ensemble Studio training activity; special events and major projects; the Capital Campaign to build the Four Seasons Centre for the Performing Arts; and, of course, milestone productions such as Kaija Saariaho’s Love from Afar (2012), Wagner’s Tristan und Isolde (2013), and Verdi’s Falstaff (2014) were realized thanks to BMO’s critical leadership and support. In addition to major support of the Capital Campaign to build the opera house, BMO stepped up as the “We have always been motivated by the artistic excellence and Presenting Sponsor of the Inaugural Gala Concert positive impact that the COC brings to its community, both that marked the opening of the FSCPA. Here Gerald in the Toronto-area and beyond,” says Nada Ristich, Director Finley, Aline Kutan, Ben Heppner, Richard Bradshaw, Adrianne Pieczonka, and Brett Polegato take a bow of Corporate Donations at BMO. “In 2016, we’re more excited after the concert in 2006. than ever to continue supporting the COC in its vision of working with the best international and Canadian artists to create live opera that is second to none.”

As BMO approaches its bicentennial celebrations in 2017—and gets ready to mark the country’s sesquicentennial the same year—Canada’s first bank is unwavering in its commitment to the arts, including investment in leading-edge, multi- disciplinary projects. BMO signed on, for example, as Presenting Sponsor of Cité Mémoire, an ongoing media work consisting of multi-surface projections in Montreal’s historic district and featuring some 20 tableaux related either to a period in Montreal’s history or to a particular theme. Incidentally, the collaborative project features the work of As production underwriter and sponsor, BMO has author Michel Marc Bouchard, who is also the librettist of the helped realize important artistic work that pushes the COC-commissioned opera La Reine-Garçon (scheduled for the boundaries of the art form and the company. A scene 2019/2020 season), based on his own play of the same name, from Tristan und Isolde in 2013. with music by composer Ana Sokolovic.

CANADIAN OPERA COMPANY 2016/2017 31 COC BACKSTAGE AND BEYOND! 365 Here is a look at some of our recent activities, many shared with our wonderful COC donors, including parties, galas, and backstage meet-and-greets with artists.

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[1] We had a long winter this year, but the heat and passion of our process and how Rossini’s nearly forgotten masterpiece, Maometto II, highly successful production of Carmen helped usher in a reluctant was unearthed for modern audiences. The Opera Insider Chat spring. The cast, creative team, donors and COC staff gathered after preceded a viewing of the production-in-progress, giving our donors the opening performance to enjoy a toast and [2] a selfie or two! an exclusive opportunity to encounter the opera as it was readied for the stage. [3] A couple of weeks later we celebrated opening night of Rossini’s rarity, Maometto II. Bass-baritone Luca Pisaroni [5] Prior to the 2016 Governor General’s Awards in Ottawa, COC (Maometto) is photographed with mezzo-soprano Leah Crocetto Board Chair Colleen Sexsmith (front right) hosted a dinner at the (Anna) and Rossini scholar and conductor Hans Schellevis, who Chateau Laurier Hotel in honour of GG recipient Ben Heppner. participated in our Opera Insights event, “Rossini Reconstructed.” Accompanied by his wife Karen (centre), Mr. Heppner was feted by many members of the COC community who made the trip to the [4] Director David Alden together with Alexander Neef offered capital. President’s Council members an in-depth discussion of his creative [6] You meet the best people when you travel! COC media relations manager Jennifer Pugsley got together with Ensemble 32 CANADIAN OPERA COMPANY 2016/2017 alumna and mezzo-soprano Rihab Chaieb at the Met in New York.

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[7-8] As we wrapped up last season, we invited our generous Interviewed by Director of the Ensemble Studio Nina Draganic donors to a special behind-the-scenes event in May, featuring (centre), Janet and Simone discussed their time in the Ensemble members of the Ensemble Studio training program. Hosted by CBC and shared stories from the COC Carmen productions they were Radio personality Brent Bambury (not pictured) the event offered personally a part of (1979 and 1984 for Janet, and 2010 and 2016 for an inside look at what goes on during a coaching session, and Simone). included an audience-led Q&A panel with Ensemble Studio Head Liz Upchurch and the young artists and their mentors. [13] In early September, with the company in back-to-school mood, new and returning members of the Ensemble Studio gathered [9-10] At the company’s annual Season Closing Party, supporters in the Max Tanenbaum Courtyard for their official portrait. gathered to enjoy cocktails and refreshments surrounded by the lush greenery of the Max Tanenbaum Courtyard. Guests enjoyed a [14-15] This past July, the COC hosted opera camps for performance by tenor Jean-Philippe Fortier-Lazure and baritone Iain young people in grades 1 to 12. A week of intensive learning and MacNeil, both graduating Ensemble Studio members. exploration in the senior camp culminated in a performance of their own original opera, Diner 80-Styx. [11] As part of their membership experience, COC supporters were treated to an exclusive, surprise performance by tenor Russell [16] Our popular Opera Insights series continued when flamenco Thomas (Pollione in Norma) at the company’s Season Opening dancer Anjelica Scannura taught participants how to strike a Party, which also featured a musical showcase of our new Ensemble Spanish pose at our April 19 Carmen Danza! event. Studio members. Visit our website at coc.ca to learn more and [12] In April, Encore Legacy members were invited to an get involved in all the COC has to offer! In Conversation event featuring two Ensemble Studio graduates: mezzo-soprano Janet Stubbs (far left, a member of the original ES cohort) and soprano Simone Osborne (far right, a 2012 graduate). CANADIAN OPERA COMPANY 2016/2017 33 From passion to production

Blakes salutes the beautiful combination of rigour and inspiration that brings art to life. We are proud to sponsor the Canadian Opera Company.

TORONTO CALGARY VANCOUVER MONTRÉAL OTTAWA NEW YORK LONDON RIYADH/AL-KHOBAR* BAHRAIN BEIJING Blake, Cassels & Graydon LLP | *Associated Offices | blakes.com BACKING A WINNING TEAM BY AMY MUSHINSKI

In the last decade the Canadian Our main sources of revenue—ticket Opera Company has undergone an sales, fundraising, and government extraordinary transformation: what support—continue to be competitively was once a respected national opera robust, and we added other income company is now an international streams as part of our commitment to leader, ranked among the world’s best stay flexible and adaptable. companies, as well as a destination for National Opera; San Francisco Opera; top-tier artists and opera-goers from Fortunately, the substantial reserve fund and Bolshoi Opera. Collaborations across Canada and beyond. In a cultural that the COC built up and carefully with these organizations, and many sector that has its share of challenges managed through its Canadian Opera others, are extraordinarily beneficial and difficulties, the COC is a remarkable Foundation allowed the company to Canadian culture. Through them we success story not only because of what to weather the lasting effects of the export Canadian artistry to the opera- we’ve accomplished, but how we made it worldwide economic downturn, while going world, and we import the finest happen. adjusting our business model and that the art form has to offer to the operations with an eye to sustainability. Canadian public here at home. When we built our new home, the Four We reorganized, tightened our belts, Seasons Centre for the Performing Arts, revisited long-held assumptions, and Opera, performed in this international we effectively redefined opera in Canada emerged leaner and stronger: an opera arena, is expensive, and we thank all our by unleashing the possibilities of a company for the new century. supporters for making it possible: we are world-class opera house, and we did it by extraordinarily grateful for your belief in completing the associated $186-million the COC and your unfailing generosity. capital campaign in only six years, on In a cultural sector You are all stakeholders and partners in time and on budget—a feat virtually that has its share Canada’s national company. unheard of in the Canadian cultural landscape. With the expanded artistic of challenges and At this time of renewed discussion about potential of our hall, our operating the importance of the arts in Canada, it’s budget quickly doubled in size and difficulties, the COC worth imagining what the COC could we added venue management to our is a remarkable be if funding consistently matched our corporate resume. We experienced a artistic and organizational standards, sudden leadership change, yet steered success story.... from the tremendous impact we could the course, increasing the amount of be bringing to communities across the artistic activity, including creating a Establishing the COC as a company country, to the breathtaking level of second performance stream—the Free worthy of one of the world’s finest opera production excellence we could present Concert Series in the Richard Bradshaw houses was a very clear objective for on our mainstage. We’re already one of Amphitheatre—and enhanced our Alexander Neef when he began his the best opera companies in the world, education and outreach programs. We tenure at the COC in 2008. And now, the but the moment to build on that success managed to do this while navigating COC is a peer to the very best. and push even further is now: we’re the multi-faceted effects of the global eager for all our stakeholders to join us financial crisis of 2008 and the Artistically, we partner on a regular in fulfilling the incredible potential of introduction of the 8% HST hike on basis with renowned companies, such as what a national opera company can be tickets sales—barely a season after the Metropolitan Opera; Royal Opera, in the 21st century. opening our doors. Throughout this Covent Garden; Opéra national de Paris; period, we never put the company’s Lyric Opera of Chicago; Teatro Real future at risk. Madrid; Houston Grand Opera; Dutch Amy Mushinski is the COC’s Manager of Government Relations

CANADIAN OPERA COMPANY 2016/2017 35 MATTHEW AUCOIN: DOING WHAT COMES NATURALLY BY VANESSA SMITH

This November, the COC Ensemble Studio School Tour will hit the road again, bringing opera to young people across Ontario. This year’s production is Second Nature, by the brilliant young composer (and conductor/writer/pianist) Matthew Aucoin. He has been making waves with his compositions not only for their innovative and sophisticated sound, but also for his age—he just turned 26 this year. We spoke with Matthew to learn more about his career and how composing for young people differs from composing for an adult audience.

This fall, you’ll become the Artist-in-Residence at Los What was your first experience with opera? Angeles Opera—tell us a bit more about what this position will entail. What are you most excited about? I caught the opera bug early on. I heard a CD of Mozart’s Le nozze di Figaro when I was seven or eight, and I was hooked. I feel like a kid set loose in a candy shop, or possibly a bull in a china shop. Seriously, I feel deeply lucky. My job in LA was Why did you write an opera for young people? created specifically for my artistic personality: I compose and conduct, and typically those two activities are kept rather far Most operas, I think, speak to something very young in apart. This job brings them together. us—something primal. This is true both of operas that are palpably youth-friendly, like The Magic Flute, and I’ll conduct at least two productions per season, starting operas that aren’t, like Verdi’s works, which engage with with Glass’ Akhnaten this fall, and I’ll compose a full-length, the human psyche at a deep, pre-conscious level, even an mainstage opera for LA, which will premiere in 2019/2020. animal level. Opera is very good at this deep, direct form of We’ll be mounting my other operas—Crossing and Second communication, and it’s something kids can certainly feel if Nature, plus my vocal chamber music—and I’ll curate a late- it’s done right. night concert series. Because of this, certain kid-friendly forms are well-suited to I’m most excited to help create a warm and welcoming—yet opera: fairy tale, parable, myth. So when the folks at Lyric also adventurous—atmosphere in the opera house. I do not Opera of Chicago asked if I wanted to write an opera for the want, in the words of the poet D.A. Powell, to "bring comfort young, I leapt at the opportunity. to the comfortable.” I want to go out into the city of Los Angeles—to the neighborhoods far from downtown—and How is writing opera for youth different than writing for reach people through the power of opera, and I hope to adults? make the opera house itself a hub for musical and theatrical experimentation and adventure. Frankly it’s not so different. Just leave out the profanity and the nudity! Otherwise, I find that kids are sometimes more What has been the highlight of your career so far? open-minded about opera than adults are. They’re much less likely to complain that my music doesn’t sound like Puccini. Well, for a composer, the most exciting events occur between the pen and the paper—so they’re hard to describe! But I Why is it important that we expose young people to remember certain transcendent moments when we were opera? And do you feel it’s best to do that with the rehearsing my opera Crossing in Boston. I have mixed classics or with new work written specifically for them? feelings about that piece, as I do about all my pieces, but it was thrilling to see my amazing colleagues—the baritone Opera’s great virtue is not its grandeur but rather its Rod Gilfry, the director Diane Paulus—bringing my music intimacy. In the 21st century, everything is available at the into the air. click of a mouse—except for the power of unamplified human music, which must be experienced live. Opera, and classical I also recall a concert I conducted with the Los Angeles music more generally, are physical and spiritual reminders Philharmonic in the Inglewood neighborhood of LA last that we are mortal, that we’re here, that we’re flesh and blood; year. That got me even more excited about the outreach work that’s what you feel when you’re in the same room as a great I hope to do with LA Opera. voice. That’s actually what Second Nature is about, too—the

36 CANADIAN OPERA COMPANY 2016/2017 SECOND NATURE

Set in a fictional future when humans have retreated from nature because of the deteriorating environment, Second Nature tells the story of two inquisitive and courageous teens who decide to leave the safety of their artificial habitat and work to heal the planet.

The COC Ensemble Studio will perform Second Nature in a public performance on Sunday, November 27 at 1:30 p.m. at the Joey and Toby Tanenbaum Opera Centre. To learn more and purchase tickets, visit coc.ca/OperaforFamilies.

danger of accepting virtual realities, and the possibility of being truly present.

The ending of Second Nature is left very open—what do Jake and Lydia find after they’ve left the Habitat?

Oh, I’ll leave that to the listener’s imagination! Maybe there should be a sequel. Uh, Third Nature.

Vanessa Smith is the COC’s School Programs Manager Season Launch Sponsor Preferred Credit Card TD® Aeroplan® Visa Infi nite Privilege*

Date: Sep 08, 2016 Filename_ Version# COC162369_SeasonLaunch_PrgAd_FNL Client: COC Build/Artist: LD Ad#: Season Launch Insertion Date: 00 Month 2016 Pub: House Program Ship Date: 00 Month 2016 559 College Street, Suite 401 Toronto, ON M6G 1A9 Ad Size: 4.125" x 10.875" # Colours: 4C

416-323-3282 Safety/Live: 3.625" x 10.375" File Built at: 100% (1:1) PMS PMS INK DENSITY FOR NEWSPAPER: 240 INK DENSITY FOR MAGAZINE: 300 “AN EXPERIENCE YOU WON’T FORGET” LEGENDARY CANADIAN TENOR BEN HEPPNER RETURNS AS HOST OF CENTRE STAGE BY JENNIFER PUGSLEY

“Soak up every bit of experience you young Canadian singers selected from can, and be proud of yourself for nationwide auditions. Centre Stage getting this far. The Canadian Opera is set against the stunning backdrop Company has created an amazing of the mainstage of the Four Seasons opportunity for young Canadian Centre with the acclaimed COC singers through this event, and it Orchestra being led by COC Music is an experience you won’t forget!” Director Johannes Debus. says Canadian mezzo-soprano Emily D’Angelo, who was both thrilled and Yes, these singers are vying for much- humbled to have been presented with appreciated cash prizes, but also for thing about being a host for Centre both First Place and the Audience something of even greater value–a Stage. I can’t tell you how inspiring Choice Award at the Ensemble Studio highly coveted invitation to join the it is to see these singers go out there Competition at Centre Stage last COC’s young artist program, the and have their moment singing on November. Ensemble Studio. Canada’s premier the stage of a major opera house and training program for young opera move an audience with their voice,” Welcome words of advice to this year’s professionals, the Ensemble Studio is a says Ben Heppner. “When I was in finalists, but also an enticing promise launching pad to a future international the Ensemble, back in the early ‘80s, of what to expect for the audience career. I didn’t have any experience at all. So watching the action unfold at the Four this was a time I could gain experience Seasons Centre for the Performing Arts A shining example of the glittering on stage, first in a small kind of way, on November 3, 2016. operatic path these finalists hope to and then moving on to larger roles. walk will be there to remind them and It all starts with that first important The significance of the occasion gala guests in the form of legendary audition, though, to set you on your goes beyond the dazzling gala affair Canadian tenor, CBC Radio personality path.” accentuated by black-tie attired and COC Ensemble Studio graduate, guests. First and foremost, Centre Ben Heppner. One of the finest So soak up every bit of the Centre Stage is an inspiring night to discover dramatic tenors in the world, Heppner Stage experience. It’s one you won’t and celebrate the next generation of returns to host Centre Stage for the forget! Canadian opera stars. It offers those second time since the gala’s launch in in attendance a rare glimpse into the 2013 as the COC’s premier fundraiser. early days of a young opera singer’s Jennifer Pugsley is the COC’s professional journey as witnesses to “Watching the finalists perform in Media Relations Manager an exhilarating vocal showcase of the vocal competition is the best

The 2016/2017 Ensemble Studio preliminary auditions, soprano Danika talents grow and develop. From those features an impressive roster of Lorèn and mezzo-soprano Megan first steps of auditioning to joining the 10 artists. Of its new members, Quick, along with pianist Stéphane esteemed training program, this group the COC welcomed D’Angelo and Mayer also joined the 16/17 Ensemble is poised to take that next step in the additional top prize winners Studio. Three current members return becoming Canada’s future opera stars. of the 2015 Ensemble Studio to the program: tenors Aaron Sheppard Competition: mezzo-soprano Lauren and Charles Sy, and pianist Hyejin Eberwein and baritone Bruno Kwon. For tickets and more Roy. The 2015 competition finalist information, visit soprano Samantha Pickett, and two Public performances over the course of singers who impressed the COC the season are exciting opportunities COCCentreStage.ca artistic administration during the to watch Ensemble Studio members’

Top: Mezzo-soprano Emily D’Angelo is congratulated by Alexander Neef on her double 38 CANADIAN OPERA COMPANY 2016/2017 win at the 2015 Ensemble Studio Competition A CELEBRATION OF CANADA’S EMERGING OPERA VOICES

THURSDAY, NOVEMBER 3, 2016

5:30 p.m. Cocktails 6:30 p.m. Competition

Hosted by Ben Heppner With the COC Orchestra conducted by Johannes Debus, COC Music Director

Join us for an elegant evening featuring the Ensemble Studio Competition

Tickets at COCCentreStage.ca or 416-363-5801

#COCCentreStage

OPERA UNDER 30 SPONSOR

Date: Sep 20, 2016 Filename_ Version# COC162514_CS_HousePrgrm_FNL_r3 Client: COC Artist: Josh Desc: COC House Prgrm Acct. Mgr: Casey | Melissa INSRT DATE Fall 2016 SHIP DATE Sep 9 2016 559 College Street, Suite 401 Trim: 8.375" x 10.875" Colors: 4/0 Toronto, ON M6G 1A9 Safety/Live: -.25" 416-323-3282 Bleed: +.25" File Built at: 100% (1:1) MEET THE GUILDS! If you don’t live in Toronto, there’s a wonderful way to feel closer to the opera scene in Canada, and to the COC in particular. For decades, enthusiastic groups of opera lovers situated outside the GTA, have organized themselves into guilds, for several purposes: to find like-minded people who share their passion for the art form, to encourage their local art scene, to support developing artists, to sponsor the Ensemble Studio School Tour in local schools, and to come together to travel to Toronto and enjoy COC performances!

Top left: Students from the University of Western Ontario have received 77 scholarships from the London Guild; four are pictured here in recital.

Bottom left: The Muskoka Guild’s sculpture-filled meeting space.

Top right: Once a year, guild representatives come to spend a day with COC staff to learn more about upcoming seasons and programming.

Bottom right: David Nimmo (second from left) is the main COC contact for guilds and groups and relishes the long-term relationships the company has forged with them.

If you’re in the area, this would be a good time to join the 77 scholarships to vocal students at Western, and also BRANTFORD Opera Guild, as they’re about to celebrate donates money to the COC. their 40th anniversary! Along with the above activities, Brantford produces a program called “Discover Opera” The MUSKOKA Opera Guild is a relative newcomer, which is a series of information sessions with guest founded in 2006. They have a delightful meeting location, speakers. They’ve also organized opera tours to Montreal, at the Knox Presbyterian Church in Bracebridge, which Quebec City, Chicago, and New York. boasts great audio-visual equipment and a kitchen for refreshments: both are musts for opera lovers! Members The KINGSTON Opera Guild has been active for over 30 welcome speakers to their meetings, explore recordings of years. A highlight of their programming is their Operabus many genres of opera, and travel to cinemas locally and in trips which bring members to COC performances. The Orillia to enjoy opera broadcasts from the Met and Royal guild holds monthly meetings, often to prepare members Opera House. They also attend OperaMuskoka and other for COC performances, but in recent years, the topics have events together. shifted to include such subjects as political correctness in opera, and talks by singers and composers about their The SUDBURY Opera Guild has been active for over work. Socializing and dining take place after the talks. This 40 years! Their monthly meetings centre around operas November the guild will bring a COC Ensemble Studio being presented at the COC or the Met. They award three school tour to town! scholarships annually to Sudbury vocal students, and host two dinners a year, particularly relishing the opportunity The LONDON Opera Guild is one of the largest, with 150 to share their enthusiasm for the art form, and swapping members. Each year this very busy organization holds four notes for visits to COC performances. events featuring speakers and sometimes singers; runs a bus to Toronto for Sunday matinee performances at the COC; purchases tickets for local high school students to TO JOIN A GUILD OR FOR see opera performances at Western University, which they MORE INFORMATION, VISIT support even further with donations and SURTITLESTM sponsorship. Over the years, this guild has awarded coc.ca/Guilds

40 CANADIAN OPERA COMPANY 2016/2017 File Name: 219645-SPONS-AD-ArtsCanOpera-8x10 Canadian Marketing Trim: 8.375” x 10.875” 100 Yonge Street, 10th Floor Bleed: 0.125" Safety: n/a Mech Res: 300dpi Toronto, ON M5C 2W1 Colours: CMYK

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The Arts makes us better. It pushes us to develop new perspectives. To see the world in a different light. It inspires us to pursue our own passions. We get so much more back from the Arts than we could ever imagine —that’s why we support the Arts in Canadian communities.

Scotiabank is proud to support the Canadian Opera Company’s Children’s Education Programs. Get inspired at www.scotiabank.com/arts

® Registered trademarks of The Bank of Nova Scotia. AN OPEN LETTER FROM JOHANNES DEBUS, COC MUSIC DIRECTOR

I want to say thank you to the nearly 1,700 people who participated in our Season-End Matching Campaign back in the spring.

Your enthusiasm and generosity made this the most successful matching campaign in the COC’s history!

All of us in the orchestra are deeply humbled and touched by your support, and we look forward to honouring your investment by continuing to explore the incredible potential of the operatic repertoire, by discovering the power, nuance, and emotional truth of our art form, and sharing it with you.

1,696 The pursuit of artistic excellence on the mainstage goes hand in hand DONORS PARTICIPATED IN THE with our commitment to young Canadian artists. And by participating SEASON-END MATCHING CAMPAIGN in last season’s campaign, you helped advance our Orchestra Academy program this year, giving emerging Canadian instrumentalists the opportunity to enter into an immersive apprenticeship with the COC $315,888 Orchestra, and to learn directly from the astonishing artists and THEY RAISED MORE MONEY THAN ANY OTHER COMPARABLE MATCHING professionals who make the COC one of the world’s greatest companies. CAMPAIGN IN COC HISTORY These are efforts that will strengthen your Canadian Opera Company even further, and on behalf the COC, I extend our gratitude to you for participating in the Season-End Matching Campaign!

Sincerely, These funds support the COC Orchestra, as well as the COC Orchestra Academy, an intensive mentorship program that gives emerging instrumentalists Johannes Debus opportunities that include Music Director

performing in the Richard playing with the COC Orchestra and benefitting from private Bradshaw Amphitheatre, at our annual Season Launch development sessions with world- Celebration and a mainstage leading artists and professionals, opening night, such as Christine Goerke.

42 CANADIAN OPERA COMPANY 2016/2017 Proud to support Opera Under 30.

We are working together with the Canadian Opera Company to make a difference in our communities.

® The TD logo and other trade-marks are the property of The Toronto-Dominion Bank. M05234 (0314) REMEMBERING LOUIS RIEL BY CLAUDINE DOMINGUE

“To be involved with the very first important Canadian opera was a tremendous responsibility, and a great challenge.”

COC 365

44 CANADIAN OPERA COMPANY 2016/2017 There’s no question that the world premiere of Louis Riel in 1967 was a seminal moment in the COC’s storied history. But, after speaking with several of the original collaborators, it became quickly apparent that the production was equally momentous in the lives of the artists who created it. Fifty years after its first performance, these artists speak about it as if it happened just yesterday, with all the joy, apprehension and excitement they must have experienced then.

“I think the whole thing; the fact that Harry it was a new work—a Canadian work— Somers wrote with Canadian composer, librettist, much of the music to conductor and director, and all the match the individual singers’ Canadian singers, made it really abilities. Early on, as baritone special,” says Leon Major, the original Bernard Turgeon (pictured second production’s director. Conductor Victor from left) remembers, “Harry came Feldbrill concurs. “To be involved to me and asked how high I could go. with the very first important Canadian And I said ‘Let’s not push it, let’s say opera was a tremendous responsibility, right. It mattered so much to us.” In the a G.’ So he wrote it, and there were and a great challenge.” Major and spirit of accuracy Day went so far as many, many, many Gs. To this Feldbrill were brought on early to the giving Turgeon an actual buffalo coat day, when I hear it, I’m not project while composer Harry Somers that he wore throughout rehearsals. sure how I did that!” and librettist Mavor Moore were still It was “incredibly hot and heavy and working on the opera. smelly—and he wore it all the time—I don’t know how he did it,” says Day. “It was quite an accomplishment, and such a team effort,” says Feldbrill. Wearing a real buffalo coat throughout castmate the kudos, “I thought Roxy’s “Leon, me, Murray Laufer and Marie rehearsals was just one of the ways aria [the unaccompanied lullaby, Day—we were there every moment baritone Bernard Turgeon threw ‘Kuyas’] was the highlight of the of the composition as Harry was himself into the title role. When he evening.” composing. We got to know the work found out he’d been given the part, as it was being created.” Turgeon travelled to Saint Boniface, Roslak herself notes that, apart from Manitoba and Batoche, Saskatchewan. the technical difficulty of the music, All of them speak about the care they There he absorbed Riel’s world—the Somers perfectly positioned the took to tell the tale as responsibly people, the environment, the history— lullaby at the beginning of Act III to as possible. Major says that the as thoroughly as he could before allow for the greatest impact. “After entire team worked for over a year coming back to Toronto to rehearse. two acts featuring very tumultuous on the project. “The research that music and mostly male voices, it Murray, Marie, Bernard and I did was As Major says, “Bernard made that role. was such a beautiful change of pace. extraordinary. We wanted to make sure He took Louis Riel into his own body. Out of the darkness and quiet there’s it was accurate, and we didn’t want to In rehearsal, when I’d go to talk to just… sound.” The lullaby starts as short-change anyone.” him, I was talking to Riel not Bernard.” description of the hunt then transitions Roxolana Roslak, who sang the role of into a soothing lullaby as Marguerite Costume designer Marie Day, who, Marguerite, Riel’s young wife, agrees, rocks her infant son to sleep, and by along with her husband set designer “He was so possessed, in the most the end is “almost a cry from the heart. Murray Laufer, created the look of positive sense, by the character that it Harry was like that; he put the work the opera, calls the months spent was incredible to watch.” And Feldbrill in the notes and let you discover it researching Riel’s life and times “an adds, “Bernard was Louis Riel from day yourself.” amazing adventure.” They wanted one.” the show to be historically pertinent. To a person, all agree that a new COC “History made Riel out to be a kind of For his part, Turgeon admits “it was the production is cause for celebration, shabby half-breed who probably never greatest, most difficult experience of even if some may have had some initial had a bath, but we wanted to get him my life.” But, ever humble, he gives his misgivings. Day admits, “at first, I

CANADIAN OPERA COMPANY 2016/2017 45 The didn’t want anyone to touch what we famous lullaby did. But now I’m really excited, because ‘Kuyas’ wasn’t orginally we have a whole new generation part of the opera. Somers had looking at the story!” written it as a test piece for a competition taking place in Montreal As Leon Major enthuses, “I’m just in the summer of 1967, but his wife, thrilled the COC is doing a new actress Barbara Chilcott, suggested production. It would be a calamity if that he add it into the opera. Left: you tried to do a similar version, or to soprano Roxolana Roslak, who copy what we did. It was 50 years ago. created the role of Marguerite, It would be madness. It would be a is pictured here singing this throwback. No, no, it has to be now.” beautiful lullaby.

The Canadian Opera Company is the only professional opera company in the world that has ever produced Louis Riel. Canada’s Centennial Commission provided funds to the COC to commission two new operas. One of them, Louis Riel made its world premiere at Toronto’s O’Keefe Centre (now the Sony Centre) on September 23, 1967. It was subsequently produced by the COC again as part of Expo’67 in Montreal, in 1968 at the O’Keefe Centre, and in 1975 with performances at the O’Keefe, the National Arts Centre, and at the Kennedy Center in Washington DC as part of the USA’s bicentennial celebrations. The 1969 televised version created by the CBC is available at Amazon.ca.

Victor Feldbrill was conductor of the Winnipeg Symphony when his friend Harry Somers suggested him to General Director Herman Geiger-Torel as conductor. Long respected as a champion of Canadian music, Feldbrill has conducted orchestras and taught at universities around the world and has made a point of including Canadian works in as many concerts as possible. Now 92, the still-very active maestro says, “If I had to pick the single best work and opportunity in my life, it would be Louis Riel.”

Award-winning designers Murray Laufer and Marie Day had individually and together worked on 40 productions at the COC (including the 1958 La bohème starring a very young Teresa Stratas) when they were tapped to design Louis Riel. Both are still very active and renowned artists; Day is now a writer and illustrator of children’s books, and Laufer is an artist whose work is represented in the permanent collections of the Art Gallery of Ontario and the Confederation Centre Art Gallery in Charlottetown. You can see their original set and costume designs for Louis Riel at the Toronto Reference Library.

At only 34, Leon Major was already a seasoned professional by the time he directed the premiere of Louis Riel in 1967, and the subsequent remounts. He went on to direct many other operas for the COC, as well as at opera and theatre companies across the Americas and Europe throughout his long career. Major is currently the Artistic Director of The Maryland Opera Studio for the University of Maryland.

Roxolana Roslak’s career has included many world premieres and career highlights such as her recording of Hindemith’s Marienleben with Glenn Gould. But, the experience of working on Louis Riel was special. “Up until very recently, I still had people come up to me and talk about the opera as if it happened yesterday. That’s wonderful to me!”

In addition to singing the title role for every professional production of the opera, Bernard Turgeon’s operatic career has taken him around the world. He also worked many years as a teacher and administrator, developing opera programs across Canada, and is considered the nation’s foremost developer, trainer, consultant and practitioner in the field of Neuro-Linguistic Programming.

Claudine Domingue is the The COC’s Director of Public Relations Canadian Opera Company LOUIS RIEL IS GENEROUSLY presents Louis Riel UNDERWRITTEN IN PART BY next spring,in a new PHILIP DECK AND KIMBERLEY BOZAK co-production with THE ASPER FOUNDATION THE MAX CLARKSON FAMILY FOUNDATION Canada’s National Arts Centre. 46 CANADIAN OPERA COMPANY 2016/2017 OPERATAMPA . 16 17 SEASON season tickets on sale now!

CHARLES GOUNOD’S ROMEO AND JULIET FRI • JAN 20, 2017 • 8PM SUN • JAN 22, 2017 • 2PM MORSANI HALL

GIOACHINO ROSSINI’S CINDERELLA (LA CENERENTOLA) FRI • FEB 10, 2017 • 8PM SUN • FEB 12, 2017 • 2PM FERGUSON HALL DARE. GIACOMO PUCCINI’S TOSCA FRI • APR 7, 2017 • 8PM SUN • APR 9, 2017 • 2PM DELIGHT. MORSANI HALL

Thank you to our 16•17 Season Sponsors: Helen Torres Foundation, Dr. Zena Lansky & Mr. Warren Rodgers, Dr. Yi-Hwa Outerbridge & Mr. Felix Cannella, Jr., Charlene & Mardy Gordon, Brad & Mary Ann Morse, Greenberg Traurig, P.A., Charles A. & Faith S. Simmons, Florida Health Care News/Dr. Barry Levine & Gina d’Angelo, DEFY. Raymond James, Neiman Marcus Media Sponsors: WEDU • Tampa Bay Magazine

SUN • NOV 6, 2016 In celebration of National Opera Week Park opens and activities In partnership with Gasparilla Festival of the Arts • Free, family-friendly outdoor musical event begin at 1:30PM • Featuring Opera Tampa Singers and visiting Concert from 3:00-5:00PM Broadway performers Curtis Hixon Park, Downtown Tampa • Popular local food trucks and local chalk artists

STRAZ CENTER IT’S GRAND OPERA AT ITS GRANDEST! Tickets and dining: 813.229.STAR (7827) • Outside Tampa Bay: 800.955.1045 CANADIAN OPERA COMPANY 2016/2017 47 Group Sales (10+ get a discount): 813.222.1016 or 1047 • OPERATAMPA.ORG Events, days, dates, times, performers and prices are subject to change without notice. Handling fees will apply.

1617 Season ad_Canadia Opera Company Program_10.1.indd 1 9/14/16 3:55 PM JOIN US BEFORE OR AFTER THE OPERA FOR FOOD, DRINK, ART + MUSIC

WE’RE ONLY STEPS AWAY! [at the corner of York + Adelaide]

Pre-Opera Chef’s Menu Every Saturday

Three course menu custom designed by our Chef de Cuisine Jon Pong each week. Includes appetizer, main course and dessert, made with the freshest seasonal ingredients, all for $40*

*In by 6:30PM, please notify the host at time of reservation. CREATING A JOIN US BETTER DONOR BEFORE OR AFTER THE OPERA FOR EXPERIENCE FOOD, DRINK, ART + MUSIC For COC members and supporters, the experience of opera extends beyond the mainstage performance to a number of enriching opportunities: connecting with friends and acquaintances who share a passion for the art form, gaining insight WE’RE ONLY STEPS AWAY! into how a production is brought to life, and even celebrating opening night alongside [at the corner of York + Adelaide] the artists themselves. Yet we are always exploring new ways—both big and small—of showing our appreciation to the vital supporters who make opera possible.

LISTENING TO OUR SUPPORTERS INTRODUCING: THE EMERITUS COUNCIL Through personal conversations, surveys, and evaluation of data, we are always striving to better understand which The COC’s Board of Directors comprises some of the most experiences are meaningful to our patrons and how we can talented and accomplished people in Canada, representing better deliver those moments and services. a diverse number of fields. Every season, they volunteer hundreds of hours, make substantial financial commitments, When we learned that it was not always convenient for Pre-Opera Chef’s Menu and share their expertise to drive the company forward. our Friends members to visit the donor lounge on Ring 3 for hanging up their coat, we responded by extending Yet for years, the COC had no explicit recognition program complimentary coat check privileges on the Lower Lobby of in place for Board Members who had completed their term, Every Saturday the opera house to all Friends supporters. and no defined opportunities to carry the relationship forward. This season our President’s Council members will enjoy an informal toast with the cast of each production after the Three course menu custom designed by our That’s about to change as the COC opening performance. In previous years we offered only a unveils its new Emeritus Council, smaller number of toasts, but made the decision to expand a program especially designed Chef de Cuisine Jon Pong each week. Includes this unique social opportunity to all productions because of to maintain our connections with the enthusiastic response the events have garnered in recent former Board members and to appetizer, main course and dessert, made with seasons. reenergize involvement through a unique slate of engagement Speaking with our members has led us to launch a few the freshest seasonal ingredients, all for $40* events. Chaired by long-time other new initiatives as well. We recently introduced digital COC supporters Michael Gough member cards in the MyCOC App for added convenience, and Jack Whiteside—former and created a new member update email to help our *In by 6:30PM, please notify the host at time of reservation. and current Board members supporters keep track of all the events and opportunities respectively—the Emeritus Council available to them. Due to positive feedback on our will take a highly personalized Membership Desk pilot project last season, this desk (at the approach to member engagement, foot of the Grand Staircase on the Orchestra Level of the honouring the former Board FSCPA) will now be a permanent location for membership members’ relationship with the inquiries and a dedicated space for assisting members with company and focusing on one- any requests they may have at a performance. of-a-kind events and learning opportunities. Emeritus Council Co-Chairs We will continue to talk with our supporters about how to Michael Gough and Jack make their experience at the opera as rewarding as possible. Whiteside Please keep an eye out for more announcements about improved member services and benefits emerging from these conversations. CANADIAN OPERA COMPANY 2016/2017 49 COC HONEY, 365 CHEESE, ART!

It's been six years since hundreds of thousands of honeybees came to live and work on the roof of the Four Seasons Centre for the Performing Arts. Under the supervision of beekeeper Fred Davis, the bees produce delicious honey, which has been available for sale all this time at the bars of the Four Seasons Centre. But the product is now expanding.

This fall you'll also be able to purchase delicious honey drops created by artisanal candy producer Papabubbles­—perfect if you feel a tickle in your throat, but delicious at any time. There's even a lemon-flavoured version.

And this past June, the Cheese Boutique launched a new cheese which incorporates our bees' honey. Called “Henry goes to the Opera,” it’s a two-year-old Quebec goat cheddar, rubbed and aged for 90 days in fresh creamed honey. The cheese is available for sale at the Cheese Boutique and will be included Pierre Huyghe. The reclining female nude was completed in cheese trays available for purchase at the Four Seasons with a beehive engulfing her head and upper torso. Centre bars. Many thanks to Fred and the hundreds of thousands of The bees haven't just been creating good food, they also spent bees that collaborate to make all this possible! a good 18 months assisting in an artistic endeavour which culminated in a sculpture that was displayed as part of last You can keep up with the honeybees—and other news—on June's Luminato Festival. The sculpture (pictured above) is our blog, coc.ca/Parlando. titled Untilled (Liegender-Frauenakt) and was created by artist

50 CANADIAN OPERA COMPANY 2016/2017 WARM UP THIS WINTER TO THE MAGIC AND MAJESTY OF GREAT OPERA

TICKETS OR GIFT CERTIFICATES This winter at the COC, experience the enchantment of Mozart’s MAKE GREAT fantastical The Magic Flute, and Wagner’s epic Götterdämmerung, HOLIDAY the extraordinary conclusion of his monumental Ring Cycle. GIFTS! Tickets start at $35 and subscribers can purchase extra tickets at their already reduced subscription rate.

Visit coc.ca/Tickets or call 416-363-8231 or 1-800-250-4653.

CANADIAN OPERA COMPANY 2016/2017 51 COC BOARD OF DIRECTORS

OFFICERS Ms. Nora Aufreiter Mr. Timothy Loftsgard Ms. Colleen Sexsmith, Chair Ms. Marcia Lewis Brown Ms. Anne Maggisano Mr. Justin Linden, Vice-Chair Ms. Helen Burstyn Ms. Judy Matthews Mr. Paul A. Bernards, Treasurer Mr. Philip C. Deck Mr. Jonathan Morgan Mr. John H. Macfarlane, Secretary Mr. Peter M. Deeb Mr. James (Jim) Nicol Mr. Alexander Neef, Mr. George S. Dembroski Ms. Frances Price General Director (ex officio) Mr. William Fearn Mr. Jeffrey Remedios Mr. Robert Lamb, Mr. David Ferguson (ex officio) Mr. J. Allen Smith Managing Director (ex officio) Mr. Michael Gibbens Mr. Philip S. W. Smith Mr. Peter Hinman Mr. Paul B. Spafford MEMBERS Dr. Linda Hutcheon Ms. Kristine (Kris) Vikmanis Ms. Yael Woodward Amaral Ms. Carolyn Jarvis Mr. Graham Watchorn Mr. Tony Arrell Mr. Jeff Lloyd Mr. John H. (Jack) Whiteside

CANADIAN OPERA FOUNDATION DIRECTORS

Mr. Tony Arrell Mr. Philip C. Deck, Chair Ms. Colleen Sexsmith Mr. Jonathan Bloomberg Mr. Christopher Hoffmann Mr. David Spiro, Secretary Mr. J. Rob Collins

CREDITS AND COC OPERA GUILDS ACKNOWLEDGMENTS Brantford Opera Guild ~ David M. Cullen, President Kingston Opera Guild ~ Grace Orzech, President The Canadian Opera Company would like to thank all those London Opera Guild ~ Ernest H. Redekop, President who volunteer both on a daily basis and for special events Muskoka Opera Guild ~ Dr. Hans Heeneman, President with the company. Sudbury Opera Guild ~ Dianne Moore, President

Michael Cooper, Official Photographer For more information, visit coc.ca/Guilds.

Musical excerpts provided by Universal Classics SUPERNUMERARIES The COC is a member of Opera America, Opera.ca and TAPA. NORMA: The COC operates in agreement with Canadian Actors’ Clara Facchinelli Equity Association. Mark Garron Fabio Hernandez The COC operates in agreement with I.A.T.S.E., Local #58, Ward Jardine Local #822, Local #828. Nyla Jeffrey Caleb Miller

52 CANADIAN OPERA COMPANY 2016/2017 16_3626_FSCOR_COC_Support_Ad_FA_Outline.indd 1 2016-07-14 10:13 AM Costume Supervisor Co-ordinators, Annual Programs & ADMINISTRATION AND STAFF Sandra Corazza Patron Engagement Brianna Chase ALEXANDER NEEF, General Director Costume Co-ordinators Eileen Hanratty Chloe Anderson Cassandra Spence Senior Development Officer, Friends of the COC Managing Director PRODUCTION Costume Assistants Victor Widjaja Robert Lamb Natassia Brunato Director of Production Christina Del Monte Individual Giving Co-ordinator, Music Director Chuck Giles Friends of the COC Johannes Debus Resident Cutter Soojin Ahn Production Manager Tracey Glas Michael Freeman Senior Development Officer, EXECUTIVE OFFICE Assisted by Institutional Gifts Executive Assistant to the Lighting Co-ordinator Karen Hancock Francesco Corsaro General Director Daniele Guevara Laura Delchiaro Marguerite Schabas Senior Development Officer, Assistant Technical Directors Additional Costumes Partnerships Autumn Coppaway Industry Costumes Sarah Heim MUSIC AND ARTISTIC Jake Gow Avril Stevenson ADMINISTRATION Melynda Jurgenson Development Communications Additional Painting and Dyeing Officer Director of Music & Artistic Assistant Production Manager Marjory Fielding Nikita Gourski Administration Shawna Green Roberto Mauro Head of Wardrobe Advancement Operations Officers Head Electrician Nancy Hawkins John Kriter Contracts Manager Joe Nalepka Sophie Malek Karen Olinyk Wardrobe Assistant Assistant Electricians Leslie Brown Company Manager Ashley Rose COMMUNICATIONS Olwyn Lewis Joel Thoman Wig & Make-up Supervisor Sharon Ryman Chief Communications Officer Chorus Master Head of Sound Steve Kelley Sandra Horst Bob Shindle Head of Wig & Make-up Crew Cori Ferguson Director of Public Relations Assistant to the Music Director Assistant Sound Claudine Domingue Derek Bate Craig Kadoke SURTITLES™ Producer Gunta Dreifelds Senior Manager, Creative & Scheduling Manager Head Carpenter Publications Kathryn Garnett Paul Watkinson SURTITLES™ Editor Gianna Wichelow Zane Kaneps Production Assistants Assistant Carpenter Manager, Direct Sales and Giving Katherine Belyea David Middleton SURTITLES™ Assistants Richard Paradiso Andréane Christiansen Olwyn Lewis Head Flyman Michael Shannon Media Relations Manager Orchestra Personnel Manager David Alexander Jennifer Pugsley Ian Cowie Supernumeraries Co-ordinators Head of Properties Analee Stein Associate Manager, Marketing & Music Librarian, Coach Daniel Graham Elizabeth Walker Customer Service Wayne Vogan Eldon Earle Head of Front of House Assistant Music Librarian Alex Maitland ADVANCEMENT Associate Manager, Digital Ondrej Golias Marketing Core Crew Chief Advancement Officer Meighan Szigeti Music Staff Doug Closs Christie Darville Walter Althammer (Ariodante) Terry Hurley Publicist and Publications Rachel Andrist (Norma) Paul Otis Executive Assistant to the Co-ordinator Christopher Bagan (Ariodante) Gregg Feor Chief Advancement Officer Kristin McKinnon Timothy Cheung (Ariodante) Elizabeth Scott Ben Malensek (Norma) Scene Shop Co-ordinator Digital Marketing Co-ordinator Amy Cummings Manager, Government Relations Tanner Davies Amy Mushinski COC ENSEMBLE STUDIO AND Head Scene Shop Carpenter ORCHESTRA ACADEMY David Retzleff Foundation Development EDUCATION AND OUTREACH Janet Stubbs Director, COC Ensemble Studio Assistant Scene Shop Carpenter Associate Director, Education & and Orchestra Academy Andrew Walker Director of Development Outreach Nina Draganic Stephen Gilles Katherine Semcesen Head Scenic Artist Head of the Ensemble Studio & Richard Gordon Senior Manager, Advancement Program Manager, Free Concert Coach Operations Series Liz Upchurch Assistant Head Scenic Artist Peter Hussell Dorian Cox Katherine Lilley Head Vocal Consultant Senior Manager, Events & Adult Programs Manager Wendy Nielsen Rehearsal Head Technician Engagement Gianmarco Segato Scott Williamson Tracy Abergel Performance Kinetics Consultant School Programs Manager Jennifer Swan Properties Supervisor Senior Development Officer, Vanessa Smith Guy Nokes Events & Engagement COC Ensemble Studio Erin Koth Children & Youth Programs Emily D’Angelo Resident Properties Builder/ Co-ordinator Lauren Eberwein Co-ordinator Development Officer, Events & Amber Yared Hyejin Kwon Stephanie Tjelios Engagement Danika Lorèn Alexandra Folkes Stéphane Mayer Resident Properties Buyer/ TICKET SERVICES Samantha Pickett Co-ordinator Senior Development Officer, Megan Quick Kathy Frost Stewardship Ticket Services Manager Bruno Roy Emma Noakes Andrea Salin Aaron Sheppard Properties Builder/Co-ordinator Charles Sy Tracy Taylor Senior Development Officer, Assistant Ticket Services Manager Annual Programs & Patron Nikki Tremblay Properties Builder Engagement Wulf Natalie Sandassie

54 CANADIAN OPERA COMPANY 2016/2017 Group Sales Co-ordinator Associate Director, Business David Nimmo Development Elizabeth Jones Ticket Services Supervisor Lillian Fung Business & Events Co-ordinator Lori MacDonald Ticket Services Supervisor Maureen Gualtieri Assistant, Scheduling & Events Hannah Gordon Ticket Services Representatives Ernest Cayemen Patron Services Manager, Nick Davis Front of House Anna Kay Eldridge Julia Somerville Peter Genoway Christopher Hackett Patron Services Manager, Cat Haywood Food & Beverage Manda Kennedy Brigitte Lang Keith Lam Megan Miles Assistant Manager, Kevin Morris Patron Services Rafael Renderos Kim Hutchinson-Barber Paulina Saliba Amelia Smart Senior Patron Services Kat Smiley Supervisors Max Williams Stuart Constable Melissa McDonnell Kimberly Wu CALL CENTRE Patron Services Supervisors Call Centre Representatives Karol Carstensen Dona Arbabzadeh Stuart Constable Catherine Belyea Jamieson Eakin Frank Bushe Christine Groom Taisa Dackiw Melissa McDonnell Keith Fernandes Evan Steingarten Paul Maly Sophia Wiens Margaret Terry Rosemary Williams Kimberly Wu

FINANCE AND Patron Services Leads ADMINISTRATION Diana Pfeffer Amelia Smart Director of Finance & Kate Werneburg Administration Lindy Cowan, CPA, CA BUILDING SERVICES Human Resources Manager Lorraine O’Connor, CHRP Associate Director, Facilities Management Finance Manager Joe Waldherr Saptarsi Saha, CPA, CA Assistant Manager, Operations General Accountants Christian Coulter Florence Huang Zoran Orlic (FSCPA) Maintenance Assistants Ryszard Gad (COC) Accounting Clerk Branislav Peterman (COC) Vera Brjozovskaia Julian Peters (COC) James Esposito (FSCPA) There’s a place Payroll Accountants Enrique Covarrubias Cortes Jovana Bojovic (FSCPA) Jeanny Won Piotr Wiench (FSCPA) for you here.

Finance Assistant Security Supervisor Lorrie Element Dave Samuels Support the COC Manager, IT Services Security Officers Steven Sherwood George Balyasin Abdi Gulleed and enjoy the perks Database Reporting Specialist Natalia Juzyc Brad Staples Usman Khalid of membership. Nicholas Martin IT Services Assistant Kathleen Minor Tony Sandy Heather Reid

Archivist, Joan Baillie Archives Building Operators Birthe Joergensen Dan Bisca Dan Popescu Receptionist/Switchboard Adrian Tudoran Katarina Božovic Eurest Services Supervisor Mailroom Clerk/Courier Paula Da Costa Branka Hrsum Eurest Services Team Jennifer Barros FOUR SEASONS CENTRE FOR Malaku Godana 416-363-5801 THE PERFORMING ARTS Nash Lim Jimmy Pacheco Director, Four Seasons Centre for Sugey Torres coc.ca/Support the Performing Arts Alfred Caron MANY THANKS TO OUR SUPPORTERS Life Trustees Council The Canadian Opera Company salutes the leaders of the COC community whose efforts have been integral to the company’s artistic evolution and transformative history of accomplishment.

Earlaine Collins Jerry and Geraldine Heffernan Adrianne Pieczonka J. Rob Collins Ben Heppner Arthur R. A. Scace, C. M. David Ferguson (Chair) Henry N. R. Jackman David Stanley-Porter E. Louise Morgan Society The E. Louise Morgan Society was created to reflect the vision and commitment of its founder and the members who have created a legacy of leadership, passion and philanthropy in support of the goals of the Canadian Opera Company.

The support from each of these individuals is critical to the company’s success and we are forever indebted to their commitment and generosity.

Tony and Anne Arrell Kolter Communities The Estate of Dr. Larry M. Agranove The Catherine and Maxwell Meighen Foundation ARIAS: Canadian Opera Student Development Fund Roger D. Moore The Gerard & Earlaine Collins Foundation E. Louise Morgan The late John A. Cook Tim & Frances Price The Estate of Horst Dantz and Don Quick Colleen Sexsmith Philip Deck & Kimberley Bozak Joey & Toby Tanenbaum Jerry and Geraldine Heffernan Anonymous (3) The Henry White Kinnear Foundation

Major Gifts and Special Projects The COC offers its sincere thanks to the individuals listed below for their extraordinary support.

PRODUCTION Up to $24,999 GENERAL PROGRAM LEGACY AND BEQUEST GIFTS UNDERWRITERS J. Hans Kluge SUPPORTERS The COC honours the memory Demonstrating their leadership Providing general program of the following patrons whose and generosity, these donors ENSEMBLE STUDIO support is critical to the COC’s vision and generosity has have underwritten the COC’s SUPPORTERS artistic mission. provided lasting support. mainstage productions. Encouraging the next generation of artists, these $1,000,000+ Estate of Anne Margaret $500,000 + donors support the COC Jerry and Geraldine Heffernan Delicaet‡ The Catherine and Maxwell Ensemble Studio. The Henry White Kinnear Estate of Marion Gertrude Farr‡ Meighen Foundation Foundation Estate of Eluned MacMillan Colleen Sexsmith $1,000,000 Tim & Frances Price Estate of James Drewry Peter M. Deeb Anonymous (1) Stewart $100,000 – $499,999 Estate of Norma Yvonne Philip Deck & Kimberley Bozak $500,000 – $999,999 $100,000+ Sawden‡ The Slaight Family Foundation Anne & Tony Arrell Estate of Marion Caroline $10,000 – $99,999 Wilson‡ The Asper Foundation $25,000 – $499,999 Up to $24,999 The Max Clarkson Family Ethel Harris & the late Bruce C. Bailey ‡ designates funds directed to the Foundation Milton E. Harris James & Christine Nicol COC’s Endowment Hal Jackman Foundation Simon Nyilassy PERFORMANCE AND ARTIST Barbara Keenan SPONSORS Marjorie and Roy Linden ENDOWMENT SUPPORT MEMORIAL AND HONORARY The following donors extend Roger D. Moore Making a gift to the DONATIONS their generous support The Stratton Trust Endowment ensures the long- The COC expresses its sincere to individual artists and term stability for the COC and appreciation to all donors productions Up to $24,999 its artists. who have made memorial and ARIAS: Canadian Opera honorary donations. $100,000 + Student Development Fund $100,000 + George & Kathy Dembroski Marcia Lewis Brown Hon. Henry N. R. Jackman In Memory of Jack Whiteside Margaret Harriett Cameron and James A. Bradshaw the late Gary Smith $25,000 – $99,999 Patricia Martin $25,000 – $99,999 Catherine Fauquier Dr. Rodney C. Ellis Dr. Samuel A. Ojo Earlaine Collins Peter & Hélène Hunt Michael W. & Wanda Plachta Emily Rankin Robert Sherrin Jo Lander Endowment Fund Abraham (Bram) Smit The Tauba and Solomon Spiro Colleen Sexsmith Janet Stubbs Family Foundation Toronto Wagner Society In Honour of Kristine Vikmanis & Brian Wilks Up to $24,999 Ninalee Craig Denton Creighton Anonymous (2) David E. Spiro Jean Edwards Anonymous (1) Anonymous (1) Colleen Sexsmith Dr. David Stanley-Porter

As of August 26, 2016 56 CANADIAN OPERA COMPANY 2016/2017 Ms R. Raso**** Rose & Roger Goldstein**** Hume Smith**** Individual Giving David Roffey & Karen Walsh**** Michael & Anne Gough**** Dr. Harley Smyth & Barrie D. Rose & Family*** Dr. Noëlle Grace & Carolyn McIntire Smyth** Annual Support J. Allen Smith & The Shohet Family**** Mr. Philip Somerville** Katherine Megue-Smith Ronald & Birgitte Granofsky**** Cameron Rusaw & Philip & Maria Smith*** Douglas & Ruth Grant* Anne-Marie Sorrenti GOLDEN CIRCLE Stephen & Jane Smith**** John & Judith Grant** Dr. John Stanley & Marion & Gerald Soloway*** Al & Malka Green** Dr. Helmut Reichenbächer*** GOLD, $50,000 + David E. Spiro**** John Groves & Vera Del Vecchio**** Wayne Stanley & Marina Pretorius** Anne & Tony Arrell**** Françoise Sutton*** Dr. Albert J. Haddad David Stanley-Porter**** Cecily & Robert Bradshaw* Ryerson & Michele Symons George & Irene Hamilton**** Doreen L. Stanton**** David G. Broadhurst** Kiersten Taylor & Tim Loftsgard Scott & Ellen Hand*** Janet Stubbs†** In memory of Gerard H. Collins**** Riki Turofsky & Charles Petersen** Mr. Harquail & Dr. Sigfridsson** Wendy J. Thompson**** Jerry & Geraldine Heffernan**** Ms Kristine Vikmanis & Maggie Hayes** Anthea Thorp**** The Catherine and Maxwell Meighen Mr. Denton Creighton**** Hon. & Mrs. Paul Hellyer**** Ian Turner*** Foundation**** The Youssef-Warren Foundation**** Michiel Horn & Cornelia Schuh**** Sandra & Guy Upjohn*** Colleen Sexsmith*** Ken Hugessen & Jennifer Connolly** Donald & Margaret Walter**** Anonymous (1) Mr. Robert C. Jefferies**** Hugh & Colleen Washington** PRESIDENT’S COUNCIL Dr. Joshua Josephson & Ruth Watts-Gransden**** SILVER, $25,000 – $49,999 Ms Elaine Lewis**** Dr. Virginia Wesson*** Mark & Gail Appel**** TRUSTEE, $7,500 – $12,499 Lorraine Kaake**** Mr. Brian Wilks** Paul Bernards*** Margaret Atwood & The Patrick & Barbara Keenan Ms Lilly Wong* Barbara Black** Graeme Gibson*** Foundation**** Mrs. Richard Wookey**** Philip Deck & Kimberley Bozak*** Frank Ciccolini Sr. **** James & Diane King** Linda Young* Michael Gibbens & Julie Lassonde* Marilyn Cook** Dr. Elizabeth Kocmur**** Helen Ziegler*** The Hon. William C. Graham & Bud & Leigh Eisenberg*** Kimberley Fobert & Susan Zorzi** Mrs. Catherine Graham**** Andrew Fleming** Robert Lamb†**** Sharon Zuckerman**** Rennie & Bill Humphries**** Peter & Shelagh Godsoe*** Mr. Philip Lanouette** Anonymous (6) Ronald Kimel & Chris Hoffmann & Joan Eakin** John B. Lawson, C.M. Q.C. **** Vanessa LaPerriere**** J. Hans Kluge** Paul Lee & Jill Maynard**** MEMBER, $2,250 – $3,749 Susan Loube & William Acton** Anne Lewitt** Mr. J. Levitt & Ms E. Mah** D. C. Adamson-Brdar**** Judy & Wilmot Matthews** Jerry & Joan Lozinski**** Mr. Peter Levitt & Ms Mai Why*** Dr. & Mrs. Larry M. Agranove**** James & Christine Nicol Mr. & Mrs. J. S. A. MacDonald**** Daniel & Janet Li** Donna & Lorne Albaum** Jack Whiteside*** Kathleen McLaughlin & Dr. Vance Logan**** Clive & Barbara Allen**** Anonymous (1) Tim Costigan** Peter H. Lunney* Mr. Thomas & Mrs. Claire Allen** Dr. Judith A. Miller**** James & Connie MacDougall**** Dr. D. Amato & Ms J. Hodges**** BRONZE, $12,500 – $24,999 Douglas L. Parker**** Mr. Jed MacKay**** Mr. Mark Andrews Dr. & Mrs. Hans G. Abromeit**** Alan & Gwendoline Pyatt Dr. Colin McGregor Mailer**** Anne-Marie H. Applin**** Ms Nora Aufreiter* Annie & Ian Sale* Mrs. J. L. Malcolm** Valerie Armstrong**** Mr. Philip J. Boswell**** Dr. David Shaw** Dr. & Mrs. M. A. Manuel** Philip Arthur & Mary Wilson** Walter M. & Lisa Balfour Bowen**** Carol Swallow*** Frederick J. Marker & Virginia Atkin**** Susanne Boyce & Anne W. Dupré Mr. Jeff Axelrod & Brendan Mullen**** PATRON, $3,750 – $7,499 Fernando Martinez-Caro Dr. John Goodhew Marcia Lewis Brown* Miguel Amaral & Dr. & Mrs. Donald C. McGillivray**** K.R.I. Bailey** Helen Burstyn & Family Yael Woodward Amaral Paul & Jean McGrath**** John Bailey** Stewart & Gina Burton** Sue Armstrong**** Ronan McGrath & Sarah Perry* James C. Baillie** Wendy M. Cecil & Jack Cockwell Ron Atkinson & Bruce Blandford**** June McLean**** Marilyn & Charles Baillie**** Family**** Mona H. Bandeen, C. M. *** Don McQueen & Trina McQueen, Andrew & Cornelia Baines**** Dr. John Chiu in memory of Henk Bartelink in memory of O.C. *** Janice A. Baker**** Yvonne Chiu, C.M.**** Oskar & Irmgard Gaube*** Mr. Ulrich Menzefricke**** Richard J. Balfour**** Stephen Clarke & Elizabeth Black** Dr. Frank Bartoszek & Bruce & Vladka Mitchell** Alice & Tom Bastedo*** The Max Clarkson Family Mr. Daniel O’Brien**** Mr. Noel Mowat** Mr. N. Beilstein & Mr. A. Lee Foundation**** Dr. Thomas H. Beechy**** Dr. M. L. Myers & the late Ms Marie Bérard†*** J. Rob Collins & Janet Cottrelle**** Mr. & Mrs. Eric Belli-Bivar*** Dr. W. P. Hayman**** Nani & Austin Beutel**** Sydney & Florence Cooper** Dr. Catherine Bergeron*** Matt & Debbie Mysak*** Dody Bienenstock** Ninalee Craig**** Tom Bogart & Kathy Tamaki** Dr. Shirley C. Neuman*** John & Mandy Birch* Mr. & Mrs. Leslie Dan*** Dr. David & Constance Briant**** Eileen Patricia Newell*** Anneliese & Walter Blackwell**** Jean Davidson & Paul Spafford**** Dr. Jane Brissenden & Dr. Emilie Newell** Ian & Janet Blue*** David & Kristin Ferguson**** Dr. Janet Roscoe**** Sally-Ann Noznesky**** Mr. W. Bowen & Ms. S. Gavinchuk**** George Fierheller**** Mrs. Donna Brock*** Simon Nyilassy* Mr. Stephen Bradley Lloyd & Gladys Fogler*** Alice Burton*** Donald O’Born*** Mrs. Carolyn Bradley-Hall & Four Seasons Hotels & Resorts*** Margaret Harriett Cameron**** Emile Oliana & Alvin Iu**** Mr. William Bradley*** Robert Fung** Sharon & Howard Campbell** Janice Oliver*** Mrs. Richard Bradshaw**** Ira Gluskin & Cesaroni Management Limited*** Julia & Liza Overs*** Christopher & Elizabeth Buller Maxine Granovsky Gluskin*** The Rt. Hon. Adrienne Clarkson* Dr. & Mrs. William M. Park**** Thomas J. Burton** Ethel Harris & the late Mr. & Mrs. William J. Corcoran*** John & Gwen Pattison** Maureen Callahan & Douglas Gray** Milton Harris**** Bram & Beth Costin John & Carol Peterson*** Ken & Denise Cargill** William & Nona Heaslip Lindy Cowan† & Chris Hatley*** June C. Pinkney**** Brian & Ellen Carr**** Foundation**** Brian J. Dawson*** Polk Family Charitable Fund** Gail Carson**** Mr. Peter Hinman & Peter Deeb* Julian & Anna Porter Drs. Carol & David Cass Ms Kristi Stangeland Dr. Jeanne Deinum**** Margrit & Tony Rahilly**** Lee Chambers Douglas E. Hodgson**** Angelo & Carol DelZotto*** Mrs. Richard Gavin Reid** Prof. Alfred L. Chan & Michael & Linda Hutcheon**** Carol Derk & David Giles** Douglas L. Ludwig & Mr. Michael Farewell*** Bernhard & Hannelore Kaeser**** Mrs. Shirley Diamond & Family**** Karen J. Rice*** Dr. & Mrs. Albert Cheskes*** Justin S. Linden* Peter & Anne Dotsikas*** Rob & Penny Richards*** John D. Church Jeff Lloyd & Barbara Henders** Jeffrey Douglas Margaret A. Riggin** Dr. Howard M. Clarke*** Ms Anne Maggisano Vreni & Marc Ducommun**** Gordon Robison & David Grant** Edward Cole & Adrienne Hood*** Hon. Margaret Norrie McCain*** Joseph Fantl & Moira Bartram** Ms Sharon Cookie Sandler**** Brian Collins & Amanda Demers** John & Esther McNeil**** Mr. & Mrs. Fraser M. Fell**** Judy & Hy Sarick**** Tony & Elizabeth Comper** John McVicker & B. W. Thomas**** Ms Lindsay Dale-Harris & Sam & Esther Sarick**** Katherine Robb Corlett**** Delia M. Moog*** Mr. Rupert Field-Marsham**** Helen & John Scott** Anita Corrigan*** Jonathan Morgan & Shurla Gittens** Margaret & David Fountain**** June Shaw & the late Dr. Lesley S. Corrin**** Sue Mortimer in memory of Dr. & Mrs. Wm. O. Geisler*** Dr. Ralph Shaw**** Gay & Derek Cowbourne** Clive Bennett Mortimer**** Susan Gerhard** Allan & Helaine Shiff**** Mary & John Crocker**** Peter M. Partridge**** Ann J. Gibson**** David & Hilary Short**** Ruth & John Crow*** Mr. Tim & Mrs. Frances Price****

CANADIAN OPERA COMPANY 2016/2017 57 Mary Beth Currie & Jeff Rintoul David W. & Sheryl L. Kerr* Robin B. Pitcher**** Mr. Steven D. Donohoe**** Carrol Anne Curry**** Ms Kristina Kerr Wanda Plachta**** Ricardo Gomez-Insausti* Mr. Stuart Davidson* Inta Kierans**** Mr.& Mrs. Domenic Porporo** Mr. James Hamilton* Dr. & Mrs. Michael & Ute Davis*** Ellen & Hermann Kircher**** Mary Jean & Frank Potter*** Roy & Gail Harrison**** Honor & Michael de Pencier**** Mr. Martin Kirr & Georgia Prassas**** Bill Heaslip**** Charles Dennis & Steve Kelley† Ms Suzanne McCuaig* Ms Jill Presser & Mr. John Duffy* Frieda and Vern Heinrichs Mr. & Mrs. A. J. Diamond* Mr. Douglas Klaassen** Dr. Mark Quigley**** Mr. Josef Hrdina** J. DiGiovanni** Michael & Sonja Koerner*** Stephen Ralls & Bruce Ubukata*** Dr. Paul & Mrs. Marcia Kavanagh Olwen & Frank Dixon** William & Eva Krangle**** The Carol & Morton Rapp Duncan & Sondra Lear James Doak & Patricia Best*** Richard T. La Prairie** Foundation**** Georgina McLennan**** Sandra Z. Doblinger** Peter Lamb & Veronica Tennant Lola Rasminsky & Bob Presner Lee Parsons* Ms Petrina Dolby*** Elizabeth & Goulding Lambert**** Dr. Reza Rastegar Barbara & Peter Pauly** Dr. James & Mrs. Ellen Downey** Jo Lander**** Professor C. Edward Rathé**** Norbert & Elizabeth Perera**** Marko Duic and Gabriel Lau**** The Hon. Dennis Lane, Q.C. & Kenneth F. Read**** Ms Joan Sinclair*** Dr. Alicia Dunlop Mrs. Sandra Lane**** Grant L. Reuber**** David Smukler & Patricia Kern** Mr. Albert D. Dunn* M. J. Horsfall Large*** Mrs. Gabrielle Richards*** The Sorbara Group of William & Gwenda Echard**** Dr. Connie Lee*** Carolyn Ricketts**** Companies**** Jean Patterson Edwards** Linda Lee & Michael Pharoah**** Ms Nada Ristich* Georgina S. Steinsky Wendy & Elliott Eisen**** Neal & Dominique Lee** Emily & Fred Rizner** Ms Peg Thoen** Jordan Elliott & Lynne Griffin* Dr. Richard Lee & Clara Robert** Vernon & Beryl Turner**** Christoph Emmrich & Srilata Raman Mr. Gary Van Haren** Steve & Richa Roder Gordon Waugh**** Dr. & Mrs. John Evans*** Alexander & Anna Leggatt**** Dr. Michael & Mary Romeo**** F. Whittaker** George A. Farkass** Joy Levine*** Mrs. Gertrude Rosenthal**** Carole & Bernie Zucker*** Darren Farwell L. Liivamagi & Dr. D. N. Cash* Rainer & Sharyn Rothfuss**** Catherine Fauquier*** Marjorie & Roy Linden**** The Roux Family ASSOCIATE FRIENDS Bill Fearn & Claudia Rogers**** Dr. & Mrs. W. G. Lindley**** David A. Ruston**** $1,100 – $1,599 Lee & Shannon Ferrier**** Janet & Sid Lindsay*** Mallory Morris Sartz & Michael & Janet Barnard** William & Rosemary Fillmore*** Anthony J. Lisanti*** John Sartz**** Michael Benedict & Goshka Folda* Dr. Weldon Liu Go Sato**** Martha Lowrie**** J. E. Fordyce**** Tom C. Logan* Fred & Mary Schulz** Don Biderman**** Robert & Julia Foster** A. Benson Lorriman**** Dr. Marianne Seger**** Ellen & Murray Blankstein* Mrs. Ingrid Fratzl Jonathan & Dorothea Lovat Carol Seifert & Bruno Tesan*** Darlene & Peter Blenich* Rev. Ivars Gaide & Dickson** Robert & Geraldine Sharpe**** Dr. Wendy C. Chan* Rev. Dr. Anita Gaide*** Amy & John Macfarlane** Milton & Joyce Shier**** Geoffrey & Bilgi Chapman**** Judy & David Galloway Dr. & Mrs. Richard Mackenzie**** Dr. Bernie & Mrs. Bobbie Silverman** Patricia Clarke** Ms Carol Gray Tom MacMillan**** Rod & Christina Simpson Robert D. Cook** Ann Gawman*** Macro Properties Ltd. ** Helen Sinclair & Paul Cantor Mr. Neil Crawford* Dr. Barry A. Gayle**** Mr. A. Mafrici**** In memory of Dr. Bernard Slatt* Mr. Greg Cumming*** The Honourable Irving Gerstein & R. Manke**** Jay Smith & Laura Rapp** Mr. Darren Day*** Mrs. Gail Gerstein*** Mr. & Mrs. R. Gordon Marantz**** Ms Muriel Smith & Mr. Eric Ojala**** Mr. Rohan D’souza Sarah Glatt**** Roberto Mauro† & Erin Wall Dr. Joseph So**** Dr. Christine Dunbar** Dr. Eudice Goldberg* Mrs. Ettore Mazzoleni*** John & Ellen Spears**** Howard & Kathrine Eckler*** Aviva & Andrew Goldenberg** Diane McArthur Martha E. Spears**** Lawrence Enkin*** Dr. Fay Goldstep & The Hon. Barbara McDougall**** Rosemary Speirs R. Dalton Fowler**** Dr. George Freedman** Don McLean & Diane Martello* Ms Gillian Stacey Mr. Osvaldo & Mrs. Joanne Deanna A. Gontard**** Guy & Joanne McLean**** Oksana R. Stein**** Girimonte Tina & Michael Gooding*** M. E. McLeod**** John D. Stevenson**** Ms Alison Harvison Young & Wayne A. Gooding†**** Mr. Timothy McNicholas* James H. Stonehouse** Mr. Herman J. Wilton-Siegel** David & Wendy Flores-Gordon** Mark & Andrea McQueen**** William Siegel & Margaret Swaine*** Sylvie Hatch**** Bryan Grant Shawn McReynolds & Eric Tang & Dr. James Miller** David Holdsworth & Mr. Finn Greflund & Elaine Kierans** Tesari Charitable Foundation Nicole Senécal** Mrs. M. Ortner*** Dr. Don Melady & Dr. M. L. Thurling Richard & Susan Horner**** Mr. Carmen & Mrs. Vittoria Mr. Rowley Mossop*** Mr. Ronald L. W. Till**** Dr. Ivan & Mrs. Diana Hronsky**** Guglietti** Eileen Mercier**** Elizabeth Tory**** James Hughes*** Ellen & Simon Gulden**** Ms Cornelia Mews Mr. Alex Tosheff* Mr. David Hutton*** James & Joyce Gutmann**** Patricia & Frank Mills*** Dr. R. B. Van Winckle* Mr. Kazik Jedrzejczak**** Dan Hagler & Family*** Dr. & Mrs. Steven Millward** Dory Vanderhoof & Rosalind Bell**** Ms Suanne Kelman & Mrs. Pamela Hallisey Florence Minz Edmond & Sylvia Vanhaverbeke**** Dr. Allan J. Fox** Mr. Adrian J. Hamel* Audrey & David Mirvish*** Stefan Varga & Dr. Marica Varga* Dr. & Mrs. L. A. Kitchell**** Beverly Hargraft** Dr. David N. Mitchell & Dr. Yvonne Verbeeten** Murray & Marvelle Koffler**** Paul & Natalie Hartman** Dr. Susan M. Till*** Dr. Helen Vosu & Donald Milner**** Ms Elizabeth Lorimer* Jacques & Elizabeth Helbronner*** Mr. Donald Mitchell* Elizabeth & Michael Walker*** Andrew & Harriet Lyons Thea Herman & Gregory King*** Mr. Robert Morassutti**** Peter Webb & Joan York**** P. Anne Mackay**** William E. Hewitt*** Alice Janet Morgan**** Ms Eleanor Westney** Mrs. Janet Maggiacomo** Ms Pamela Hoiles Ms Sylvie Morin*** Melanie Whitehead*** Mary McClymont**** Sally Holton**** Ms Rosalind Morrow** Elizabeth Wilson & Janina Milisiewicz**** Frances Humphreys in memory of Drs. Christopher & Pippa Moss*** Ian Montagnes**** Mr. David Milovanovic & Anthony C. J. Humphreys**** Gael Mourant & Robert Elliott & Paul Wilson** Dr. Cinda Dyer Peter & Hélène Hunt**** Caroline Hubberstey* John Wright & Chung-Wai Chow** Mr. Carl Morey**** Mr. Sumant Inamdar** Mr. Joseph Mulder** Dr. Jackson Wu & Sean O’Neill & Victoria Cowling**** Dr. Melvyn L. Iscove*** David & Mary Neelands*** Dr. Viviana Chang* Justice Michael & Susan Phelan Eva Innes & David Medhurst* Dr. Steven Nitzkin**** Mr. Takahiro Yamanaka Ms Victoria Pinnington*** Elliott Jacobson & Judy Malkin** Dr. James & Mrs. Valda Ms June Yee*** Brayton Polka Lynne Jeffrey**** Oestreicher*** Morden Yolles**** Mr. Andrew Prodanyk Dr. R.G. Perrin** Marwan Osseiran Anonymous (26) Dr. Peter Ray**** Laurence Jewell** The Ouellette Family Foundation Dr. Shelley Rechner**** The Norman & Margaret Jewison Eileen & Ralph Overend** Robert & Dorothy Ross**** Charitable Foundation**** Clarence & Mary Pace*** FRIENDS OF THE COC Mr. Michael Samborsky*** Ms Elizabeth Johnson** Dr. & Mrs. N. Pairaudeau**** William & Meredith Saunderson**** In Memory of Patricia Johnson** Elizabeth Paupst SUSTAINING FRIENDS Dr. Anabel M. Scaranelo Dr. Albert & Bette Johnston** Dr. Roger D. Pearce**** $1,600 – $2,249 Ms Elisabeth Scarff**** Joyce Johnston*** Dr. A. Angus Peller** Carol & Ernest Albright**** Dr. & Mrs. W. K. Stavraky*** Miriam Kagan John & Penelope Pepperell** Gail Asper & Michael Paterson Mr. Paul Steep & Ms Anne McNeilly* H. L. Katarynych*** Dr. R. G. Perrin** Iivi Campbell**** Helga & Klaus Stegemann*** Dr. Joel Keenleyside**** M. J. Phillips**** Jayne & Ted Dawson**** Norma & George Steiner****

58 CANADIAN OPERA COMPANY 2016/2017 Anna Talenti**** Giles le Riche & Gifts planned today, that will Sylvia M. McPhee Mr. & Mrs. David G. Trent**** Rosemary Polczer*** ultimately affect your estate, allow John McVicker & B. W. Thomas Dr. Peter Voore**** Mr. Tom Le Seelleur*** you to make a statement of support Dr. Alan C. Middleton Ms Virginia Wai Mr. Martin Leistner that will become a lasting legacy to Eleanor Miller Mr. John M. Welch**** Claus & Heather Lenk** the COC. Sigmund & Elaine Mintz Nina & Norman Wright*** Yakov Lerner†* Donald Morse Anonymous (4) Mrs. Mary Liitoja**** The Canadian Opera Company Sue Mortimer Susan Lockwood* gratefully acknowledges and thanks Mr. & Mrs. James D. Patterson CONTRIBUTING FRIENDS Gil & Dorota Lorenson the following individuals who have Mervyn Pickering $700 – $1,099 Dr. Francois Loubert** Gunther & Dorothy Piepke included the COC in their estate Nancy and Arthur Ameis Charitable Francess G. Halpenny**** Sheila K. Piercey planning: Fund** Deidre Lynch & Thomas Keirstead* Dr. Zitamaria Pinto Leila Appleford*** David Macfarlane Wanda Plachta Mary Agay Dr. I. L. Babb Fund at the Toronto Mary P. MacLean*** Ms Georgia Prassas Susan Agranove & Estate of Community Foundation**** Kathy Marton* K. F. Read Dr. Larry M. Agranove In memory of M. Baptista*** Mary McGowan**** Dr. John Reeve-Newson Ken R. Alexander Karen & Bill Barnett* Jil McIntosh** Florence Richler Isobel Allen Peter & Leslie Barton*** Mr. Bruce McKeown**** John & Norma Rogers Ms Sandra Alston Mrs. Lynn Bayer*** Dr. & Mrs. Martin & Mrs. Margaret Russell Ms Ann Andrusyszyn Catherine Belyea† Deborah McKneally** Sharon Ryman† Callie Archer Jeniva Berger**** Sylvia M. McPhee**** Cookie & Stephen Sandler Renata Arens & Elizabeth Frey Anthony Bird**** Janis Medland* Fred & Mary Schulz Mrs. Rosalen Armstrong Staunton Bowen Dr. Alan C. Middleton*** John & Helen Scott Tony & Anne Arrell Mary Brock & Brian Iler**** Randy Mills* Colleen Sexsmith Ron Atkinson & Bruce Blandford James E. Brown** Kamini & Lynne Milnes* Claire Shaw Mr. L. H. Bartelink Brian Bucknall & John Mogan* June Shaw, in memory of J. Linden Best & James G. Kerr Mary Jane Mossman**** Frank & Anne Moir*** Dr. Ralph Shaw Mr. Philip J. Boswell Ms Judith Burrows*** Peter Naylor R. Bonnie Shettler David Bowen Ms E. Burton*** Larry Nevard William Siegel & Margaret Swaine Marnie M. Bracht Mr. Bill Cameron** Mrs. Sara Nixon Paul Spafford Gregory Brandt Mary Campbell**** Ms Cristina Oke*** David E. Spiro Ms Cindy Breslin-Carere Betty Carlyle**** Karen Olinyk†* Dr. D. P. Stanley-Porter Marcia Lewis Brown Mark Cestnik & Natercia Sousa**** Mr. Vlad Ovchinnikov & Doreen L. Stanton Brian Bucknall & Harold Chmara & Danny Hoy**** Mrs. Lesia Menchynska* Drs. W. & K. Stavraky Mary Jane Mossman George Clark** Joan Pape**** Lilly Offenbach-Strauss Dita Vadron & Jim Catty Joe T. R. Clarke**** Mr. James C. Pappas**** Janet Stubbs† Mrs. Ann Christie Mr. Philip J. Conlon*** Mr. Joseph & Mrs. Letizia Paradiso*** Ann Sutton Earl Clark Mr. Scott Connell & Dr. Wadermar A. Pieczonka**** Ronald Taber Stephen Clarke & Elizabeth Black Ms Anouchka Freybe Ed & Beth Price*** Susanne Tabur The Rt. Hon. Adrienne Clarkson William Cowan & Elodie Fourquet** Robert Radke Mrs. Ann C. Timpson Brian Collins & Amanda Demers Sylvain Crozon Mr. Jason Roberts*** Riki Turofsky & Charles Petersen Earlaine Collins Peter and Elly Daniels Ms Virginia Robeson** Tony & Mary van Straubenzee David H. Cormack Mr. & Mrs. Michael Davies**** Mr. Anthony Rubin**** N. Suzanne Vanstone Ninalee Craig Anita Day Patti & Richard Schabas** Marie-Laure Wagner Anita Day & Robert McDonald Don DeBoer & Brent Vickar*** Front Desk Ltd./Toby Schertzer Hugh & Colleen Washington Ann De Brouwer Mr. Michael Disney** Valerie Schweritzer & Chris Reed**** William R. Waters Helen Drake Ms Eleanor L. Ellins**** Marlene Pollock Sheff** Brian Wilks Yvonne Earle Susan Elliott Mrs. Pamela Smith*** Marion York David & Kristin Ferguson Mr. Arthur English** John Spears and Tricia Younger Carol Fordyce Joe & Helen Feldmann*** Elisabeth Marsden**** Anonymous (38) Rowland D. Galbraith Bruce & Mary Fillier Phil Spencer**** Douglas G. Gardner Russell Finch Mr. Paul Straatman Susan Gerhard Jennifer & Frank Flower**** Pavel and Vera Straka*** Ann J. Gibson Marie-Lison Fougere** Penelope K. Sullivan**** Tina & Michael Gooding Angelo Furgiuele & Family* Ms Grace Szczerbowski Corporate Michael & Anne Gough Douglas G. Gardner**** Larry & Judy Tanenbaum**** Donald I. F. Graham Mr. M. Gerwin & Mrs. J. Rutledge** Terry S. Tator*** Matching Partners Colin Gruchy Alison Girling & Paul Schabas** Ria Tietz**** The Canadian Opera Company David G. Hallman Les & Marion Green**** Dr. Claude Tousignant** gratefully acknowledges the George & Irene Hamilton Ms Julianna Greenspan Dr. Nancy F. Vogan**** following organizations that have Joan L. Harris Dr. & Mrs. Voldemars Gulens**** Mr. Wayne Vogan†**** matched gifts by their employees: William E. Hewitt Dr. & Mrs. Brian & Cynthia Hands**** George Vona & Lark Popov** James Hewson Sandra Hausman** Angela & Michael Vuchnich**** Burgundy Asset Management Ltd. John R. Higgins Mrs. Hana Havlicek-Martinek* Dr. O. R. Waler* Canadian Tire Corporation Limited Mr. Kim Yim Ho & W. L. B. Heath**** James & Margaret Whitby**** IBM Canada Ltd. Walter Frederic Thommen Barbara & John Hepburn* Joan Williams**** Douglas E. Hodgson Dr. Paul Cooper & Mr. David Hiebert David A. Young Michiel Horn In memory of Pauline Hinch** Ms Iris Zawadowski** Matt Hughes Richard & Donna Holbrook**** Yvonne Zhang Michael & Linda Hutcheon In loving memory of Anonymous (13) The above Individual Support Gifts were Elaine Iannuzziello Joyce Whitney Hughes* made as of August 30, 2016 Dr. Ingrid Jarvis Mr. Chris Ibey*** Lynne Jeffrey Xiao Jiang * five to nine years of support Ann Kadrnka Douglas & Dorothy Joyce**** ** 10 to 14 years of support The Encore Legacy Ben Kizemchuk Lilian Kilianski† & Brian Pritchard* *** 15 to 19 years of support The Encore Legacy is the planned Kathryn Kossow **** 20 or more years of support Mai Kirch**** giving program of the Canadian Jo Lander † COC administration, chorus or orchestra Mr. & Mrs. I. P. & O. M. Komarnicky*** Opera Company. Peggy Lau member Adrian Kos & Olga Repryntseva Marjorie & Roy Linden ‡ Endowment Christopher Kowal* Tom C. Logan, A.R.C.T. Dr. Milos Krajny**** Planned giving is making the Ms Lenore MacDonald Despite the staff’s extensive efforts to Ms Eva Kukiel** decision today to provide a gift for avoid errors and omissions, mistakes can Dr. Colin M. Mailer Gediminas P. Kurpis**** the Canadian Opera Company that occur. If your name was omitted, listed R. Manke Mr. James R. Lake**** may not be realized until after your incorrectly or misspelled, we apologize for Tim & Jane Marlatt Harry Lane*** lifetime. any inconvenience this may have caused. Mr. Shawn Martin Alan & Marti Latta**** We would appreciate being notified of Margaret McKee any errors at 416-847-4949.

CANADIAN OPERA COMPANY 2016/2017 59 2016/2017 Corporate Sponsors and Foundation Supporters

Presenting Sponsor Official Automotive Sponsor Opera Under 30, Preferred Credit Card of the COC at the FSCPA Operanation, and Centre Stage TD® Aeroplan® Visa Infinite Privilege*

Supporter of Ensemble Studio and Centre Stage Presenting Sponsor of Share the Opera

Official Canadian Wine Production Sponsor Production Sponsor Title Sponsor of the COC at the FSCPA Puccini’s Tosca Mozart’s The Magic Flute Children’s Education Programs

Ticket Back Sponsor Preferred Hospitality Sponsor Radio Partner

GOVERNMENT SUPPORT The Canadian Opera Company gratefully acknowledges the generous support through operating grants from these government agencies and departments:

OPERATING SUPPORT ENSEMBLE STUDIO

an Ontario government agency un organisme du gouvernement de l’Ontario

SPECIAL PROJECT FUNDING For many programs and special initiatives undertaken each year by the Canadian Opera Company, we gratefully acknowledge project funding from: Department of Canadian Heritage Employment and Social Development Canada

60 CANADIAN OPERA COMPANY 2016/2017 $100,000 + HOSTING SPONSORS Event Sponsors The Slaight Family Foundation Drake One Fifty BT/A Nota Bene Restaurant Cacao Barry $50,000 – $99,999 Chairman Mills Chair-man Mills Inc. PREFERRED FLORISTS CXBO The Hal Jackman Foundation at the Bloom The Flower Company The Knot Group Ontario Arts Foundation Quince Flowers Mill St. Brewery Mount Gay Rum $10,000 – $49,999 Nestle Waters Canada Audrey S. Hellyer Charitable Foundation CENTRE STAGE GALA 2015 Pink Twig Barrick Gold Ryan Emberley Photography Blake, Cassels & Graydon LLP Platinum Supporters Toronto Life Burgundy Asset Management Limited Peter M. Deeb Trius Davies Ward Philips Vineberg Mercedes-Benz Canada 10tation Event Catering Goldman Sachs RBC and RBC Foundation Wellington Printworks Great-West Life Assurance Company Anonymous (2) Jackman Foundation Opera Under 30 Sponsor J.P. Bickell Foundation TD Bank Group Linden & Associates SEASON LAUNCH CELEBRATION The Lloyd Carr-Harris Foundation Competition Supporter 2016 McCarthy Tetrault Hal Jackman Foundation The Mclean Foundation Lead Sponsor Norton Rose Fulbright Canada LLP Gold Sponsors TD® Aeroplan® Visa Infinite Privilege* Card Osler, Hoskin & Harcourt LLP Brookfield Asset Management Shangri-la Hotel Philip Deck & Kimberley Bozak Anonymous (1) Linden & Associates Scotiabank FINE WINE AUCTION 2016 $5,000 – $9,999 The George Cedric Metcalf Charitable Presenting Sponsors Foundation OPERANATI0N 2016 Graywood Group The Hope Charitable Foundation PwC Canada Local 58 Charitable Benefit Fund Presenting Sponsor Michael Gibbens & Julie Lassonde Mill St. Brewery TD Bank Group The Peterson Family Charitable Partnering Sponsors Foundation Entertainment Host Gillam Group Inc. Shinex Window Cleaning Inc. Shangri-La hotel, Toronto RR Donnelley Canada Inc. Unit Park Holdings Inc. Vida Peene Fund at the Canada Council Partnering Sponsor Supporting Sponsor for the Arts Burgundy Asset Management Geoffrey Pennal of CIBC Wood Gundy

$2,500 – $4,999 Supporting Sponsor Event Sponsors Hicks Memorial Fund at the Calgary Globalive Capital 10tation Event Catering Foundation The Cheese Boutique Tesari Charitable Foundation Contributing Sponsors Trius Wines Altus Securities Stephen Ranger $1,000 - $2,499 The Catalyst Capital Group Inc. Waddingtons Gill Ratcliffe Foundation Ewing Morris & Co Jarvis & Associates Growth and Income .ca Judith Teller Foundation Milborne Real Estate Inc. Loch-Sloy Holdings Limited Priority Access Realty Corp. The Powis Family Foundation

PHOTO CREDITS COVER: COC costume department, photo: COC, 2016. PAGE 3: Alexander Neef, photo: bohuang.ca, 2016. PAGES 4, 6/7, 8, 11: Scenes from Norma (San Francisco Opera, 2014), photos: Cory Weaver. PAGES 13: Main photo of Elza van den Heever by Roberto Giostra; inset: photo: Michael Cooper. PAGES 14, 16, 18/19, 21: photos by Pascal Victor/ArtComArt. PAGE 26: Interactive wall photo: Gaetz Photography. PAGE 31: top left: unknown photographer; top right: photo: Chris Hutcheson; middle and bottom: photos: Michael Cooper. PAGES 32 and 33: 1, 2, 3: Joey Lopez; 4, 7 to 12: Gaetz Photography; 5: Photo: Lindsay Ralph; 6: photo courtesy of Jennifer Pugsley; 13: Bronwen Sharp; 14 to 16: COC. PAGE 35: photo: Lucia Graca. PAGE 38: Michael Cooper. PAGE 40: Top left: photo courtesy of London Opera Guild; bottom left: photo courtesy of Muskoka Opera Guild; right top and bottom, photos: COC. PAGE 42: Counter-clockwise from top left: Johannes Debus, photo: bohuang.ca; Members of the COC Orchestra and the Orchestra Academy, photo: Karen E. Reeves; Johannes Debus and the COC Orchestra at the COC’s 2016/2017 Season Launch, photo: Chris Hutcheson; Members of the COC Orchestra Academy with soprano Christine Goerke, photo: COC. PAGES 44-46: photos: Robert Ragsdale. PAGE 49: Main photo: COC; inset photos: Lindsay Ralph. PAGE 50: Top photo courtesy of Luminato; bottom left: Gaetz Photography; bottom right: COC. PAGE 51: Ambur Braid and Simone Osborne in The Magic Flute (COC, 2011); Joni Henson and Mats Almgren in Götterdämmerung (COC, 2006); inset: Aline Kutan in The Magic Flute (2011), photos: Michael Cooper. PAGE 55: Gaetz Photography. PAGE 62: A bar at the Four Seasons Centre for the Performing Arts, photo: Joey Lopez

CANADIAN OPERA COMPANY 2016/2017 61 FOOD AND BEVERAGE SERVICE We are pleased to offer, for the convenience of all our patrons, a pre-order system for intermission purchases. Our pre-order system is designed to decrease your wait time at the bar during intermisison and we invite you to make use of it at every COC performance. Bars are located throughout the Isadore and Rosalie Sharp City Room’s many levels.

Food and beverages are not permitted in R. Fraser Elliott Hall.

PATRON INFORMATION AND POLICIES

COAT AND PARCEL CHECK To uphold the safety of the CHILDREN AND BABES-IN-ARMS All patrons, including building, oversized bags and parcels may be prohibited from children, must have a ticket for the performance. All children entering R. Fraser Elliott Hall. Patrons attending COC must be seated next to an accompanying adult. Young children performances may be offered complimentary parcel check. should be able to sit quietly throughout the performance. If Coat check is located in the Lower Lobby, where the following unable to do so, children and their accompanying adult will services are also available: booster seats, back supports, infrared be asked to leave the auditorium. Babes-in-arms will not be hearing-assistive devices and rental of binoculars, on a first- admitted. come, first-served basis. MEDICAL EMERGENCIES AND FIRST AID A house doctor is GO SCENT FREE In consideration of patrons with allergies, present at all performances. Please contact an usher if medical please avoid wearing perfumed beauty products and fragrances. services are required.

NOISE ETIQUETTE Patrons are reminded that R. Fraser Elliott LOST AND FOUND During performances please speak with an Hall is an extremely lively auditorium and that all audience noise usher or visit Patron Services at the Coat Check in the Lower will be accentuated and audible to other patrons. Turn off all Lobby. Following performances, please e-mail lostandfound@ electronic devices, avoid talking, coughing, humming, moving coc.ca or call 416-342-5200 for information. loose seats, kicking the backs of seats, rustling programs, and unwrapping candies or cough drops. Please remain in your seat TICKET SERVICES until the performance has completely ended and the house Canadian Opera Company subscriptions and individual tickets lights have been turned on. are available through COC Ticket Services ONLINE: coc.ca ELECTRONIC DEVICES The use of mobile and smartphones BY PHONE: 416-363-8231 or long distance 1-800-250-4653 and all other electronic devices is extremely disruptive and Monday to Friday – 10 a.m. to 6 p.m. is strictly prohibited during performances. If a patron has an Saturday – 10 a.m. to 4 p.m. emergency and needs to be contacted during a performance, he IN PERSON: Four Seasons Centre Box Office or she should contact Patron Services for assistance before the 145 Queen St. W. performance. Monday to Saturday – 11 a.m. to 6 p.m. or through first intermission CAMERAS/RECORDING DEVICES The use of cameras, video Sunday (performance days only) – 11 a.m. to 3 p.m. cameras or sound-recording devices of any kind is prohibited or through first intermission in R. Fraser Elliott Hall during performances. If you’d like to get The Four Seasons Centre for the Performing Arts Box Office also a picture inside the auditorium, do so before the performance services ticketing needs for The National Ballet of Canada and all begins. However, the design and direction of the production is other Four Seasons Centre events. restricted under intellectual property law, so patrons must have the permission of the COC to take pictures of the production’s GROUP SALES Groups of 10 or more enjoy savings on regular set or the stage before or during performances. Any person individual ticket prices. For more information or to reserve seats using an unauthorized recording device will be required to call 416-306-2356. surrender or erase any recordings, photographic or digital images and may be asked to leave. No refunds will be issued. Be PARKING There is parking on a first-come, first-served basis sure to take a look at our Facebook page for official photos of for about 200 vehicles underneath the Four Seasons Centre. our productions! The entrance is located on the west side of York Street, south of Queen Street. Additional parking is conveniently located just LATECOMERS In the interest of safety and for the comfort steps away in the Green P lot underneath Nathan Phillips Square. of all patrons and performers, latecomers may not enter the For directions visit greenp.com. auditorium or be seated unless there is a suitable break in the performance (usually intermission). Patrons leaving the FOUR SEASONS CENTRE FACILITY TOURS Tours of the Four auditorium during the performance or returning late after Seasons Centre include backstage access! For more information, intermission may not be readmitted or may be accommodated in visit fourseasonscentre.ca. an alternate viewing location. PRE-PERFORMANCE OPERA CHATS COC Education and FOOD AND BEVERAGE Outside food and beverages are Outreach staff and guest speakers offer free, insightful chats prohibited from entering the venue. about the stories, music and background of all COC productions, 45 minutes prior to each performance in the Richard Bradshaw RECORDINGS Patrons consent to appear in recorded material Amphitheatre. Doors open one hour before each performance. by attending FSC performances/events. Seating is limited and available on a first-come, first served basis. Please join the line-up early to avoid disappointment. OBJECTIONABLE BEHAVIOUR Management reserves the right to refuse admission without refund, and expel from the premises, SPECIAL EVENTS AND CATERING The Four Seasons Centre any person whose presence or conduct is deemed objectionable. is available for rental for all of your presentation, meeting or special events needs, with spaces accommodating from 20 to 2,000 people and full catering services. For further details visit fourseasonscentre.ca or call 416-342-5233. 62 CANADIAN OPERA COMPANY 2016/2017

488university.com A performance masterpiece. A performance Performing Arts. e-class.ca Arts. Performing Presenting the all-new E-ClassSedanfromMercedes-BenzCanada – a proud sponsor ofthe Company CanadianOpera atthe Four SeasonsCentrefor the © 2016 Mercedes-Benz CanadaInc. File Location: SGL_MercedesBenzCanada:Magazine Ads:2016:P67264_2016 COC Program Insert:MBZ_BRA_P23362_COC_HP_4.indd COC Ads:2016:P67264_2016 SGL_MercedesBenzCanada:Magazine File Location: rn cl: None x11.125” 8.625” Print Scale: 1:1 Scale: Artwork Bleed: JanoK Trim: Live: Retoucher: None Tom Burton Print Production: Paul Wiersma Copy Writer: Director: Art P67264 COR SMZ Main Docket#: Mercedes-Benz Docket#: Agency P67264 BRA MBZ Program Gala CenterStage COC Creative Name: Client: JOB SPECIFICS ulcto() CanadianOperaCompanyWinter HouseProgram Communications This adpreparedby:SGL Publication(s): Ad Number:

MBZ_BRA_P23362_COC_HP_4 8.375” x10.875” 7.875” x10.375” • 2BloorSt.West, Toronto, Ontario prtr DennisSousa Correction: None Operator: GRAPHIC PRODUCTION: 11.3 Round #:1Page Count:1 App. Version: Version:InDesign 2015 CC 7-28-2016 3:57 PM Workstation: T11-0483 PM 7-28-2016 12:48 Last Modified: Creation Date: MBZ_BRA_P23362_COC_HP_4.indd File Name: FILE SPECIFICATIONS: • phone416.413.7495 B:8.625” T:8.375” S:7.875” INKS: INKS: Operator: None OPERATOR:PREMEDIA • 416.944.7883 fax416.944.7883 BLACK YELLOW MAGENTA Cyan L_COC_2011_PrimarywTag_Horz_REV.eps Vorab_MB_WM-claimEN_LB_ML_n_1C.ai MB-star_M_n_4C.eps ppi 300 URES00025_v2_Eng_mag.tif 2016_CARS_PICT File Name Corporate ACondensed Corporate S Times Family IMAGES &PLACED FONTS Colour Space Eff. Res (PPI) Eff. (PPI) Res Colour Space Regular Light Regular Style

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